Hannu's#•••• *9 Mliiy Harold H

Total Page:16

File Type:pdf, Size:1020Kb

Hannu's#•••• *9 Mliiy Harold H Israel's Sapir Ends K^BEWSiliMiis Page One Peruvian Trade Talks MOVIE PACESETTERS SECTION II April 24, 1959 LUCA, Peru (JTA) Pinhas Sa- oir Israel’s minister of commerce Brotherhood, Opposition To Death Penalty Kaufmans Attend and industry, left for Bolivia after Support For officials of Asks series of talks with Live Senator Pittsburgh Event a Ones , I Want To Peru on a projected trade agree- Strongly Enacted In 'Defiant countries. Arthur Kaufman, ent between the two good for ple of mature picture making. Mr. and Mrs. By HERBERT G. LUFT ANOTHER pretty bet W. Clarendon Ave., have re- of preliminary agree- the best award is Lawrence DIRECTOR Mark Robson came 1416 The text a By the time this picture the Restoration from Pittsburgh, where up turned was sent to Israel for study HOLLYWOOD— Weingarten’s production of “Cat with “The Inn Os Sixth party ment arrival column appears in the Passover Happiness,” in its entirety photo- they attended a dinner hon- after the talks. Prior to his On A Hot Tin Roof,” Tennessee parents, Mr. and and edition, the Academy Award race has graphed in England, starring In- oring Kaufman’s here, Sapir visited Colombia will Williams’ absorbing play that 50th he with gov- for the best picture of 1958 grid Bergman with the late Rob- Aid Mts. Sam Kaufman, on their Ecuador, where met lost of its obsessive attrac- Os Israel contend- none anniversary. for similar talks. have been decided. A top adaptation, ert Donat. Though Isobel Len- CHICAGO, 111., (JTA) Chair- wedding ernment officials highest is Stan- tion in the screen hackneyed er for the honor though the yam has been cleaned nart’s screen play is man Hubert M. Humphrey of the The Phoenix couple also visited ley Kramer’s “The Defiant Ones,” and Curt Jurgens’ performance Senate Foreign Relations Near- who is stationed at budget-wise or up considerably. their son, Joel, not a big picture questionable in many ways, the Eastern subcommittee called for Fort Campbell, Ky., and his bride, spectacular produc- Elizabeth Taylor and Paul New- picture belongs to by administra- of in terms of frightenly per- staging of the reconsideration the the former Miss Judie Musser a work of great power man give realistic of the severance of economic newlyweds, who tion, but tightly knitted the great achievements tion of the Erin, Tenn. The GREETINGS and conviction. formances. The cinema. Especially the final se- grant to Israel. Humphrey, a Min- married Feb. 5, will make drama unfolds shamelessly frank a were story of two convicts quence depicting the march across nesota Democrat, spoke before their home in Phoenix in August. It is the as a penetrating study of moral function. shackled together with chains, who redemption the mountains towards the sea of Jewish National Fund deterioration and final group children trying escape from the law—but cannot family. a of Chinese “Israel has not received a single Thrift destiny. of a Southern to escape Japanese aggression cre- escape their own Once the picture and penny of grant military aid, thus broken by physical Director of the ates a lasting impact. wrong every iron chains are play collaborator is Rich- it would be from power, the white End the colored screen The picture mirrors mass emo- standpoint to end our great econ- PASSOVER Liquor Store a much ard Brooks, a Jew who first at- boy are linked together by 12 years tion of a people and gives us the omic aid to Israel now,” he said. tie the brotherhood of tracted attention some feeling of complete authenticity—- GREETINGS 1811 East McDowell Road stronger ago the author of “The Brick He expressed hope that the Uni- man. as the though the crowd scenes were ac- would continue grant Foxhole” on which “Crossfire,” rugged terrain ted States from AL 4-0196 Kramer, now guid- dealing with anti- tually shot in the Israel and that it actually PRODUCER powerful movie of aid to ing picture as a director, Semitism, based. Brooks last Wales. should be increased. He termed the his third was of once more showed his specific ar- year guided such pictures a s PRODUCER Arthur Freed whole aid program inadequate. talent of cinematic vision. “Something of Value” and “The MGM had a hit oq hand with the Humphrey said countries like Is- United Vacuum tistic “Gigi,” Tony Curtis, portraying the white Karamazov.” best musical of the year, rael, which he singled out as “cru- Brothers by Colette, with & fugitive opposite Sidney Poitier, Live,” Wang- from the novel a cial” to the free world, must get Sales Service Greetings “IWANT TO Walter play and lyrics by Alan Jay Passover gives a finely-shaded performance, eloquent plea against capital screen enlarged American economic sup- type of er’s Lemer, and musical score by 1622 N. 7th Street breaking away from the punishment, is another film de- port because dollars there work pretty-boy roles associated with Acad- Frederick Loewe, the team respon- for freedom. serving consideration for an “My Fair him for so many years. Even his Want To Live” sible for the success of Wallace to lend emy Award. “I Lady.” face has been hardened opens up new vistas in cinematic realism to the part masterpiece of The association of Lemer and AirConditioning expression, is a unique in show business. the Israeli, who photography and staccato cutting. Loewe is & Theodore Bikel, Alan Jay, offspring of tycoon Jo- PASSOVER Greetings Cooling Heating zoomed to -prominence in this coun- The screens in the death cell seph L. Lemer, of the chain of Passover INSTALLATION ft REPAIRS try In films, television, on the leading up to the execution of Bar- ladies’ wear stores, had to over- stage and in the night-club circuit, seen with ice- seriously GREETINGS 7th Avenue bara Graham are come wealth to be taken 4704 North portrays the role of a humane cold precision and reflect a feel- in show business. Loewe, son of a AM 5-8485 Southern sheriff who is weary of ing of infinite doom. Bikel adds continental actor who fled racial SUPREME violence. another interesting characteriza- pianist por- oppression, was a concern Hank's TV tion to his many credits by and composer at the age of 9. But MAKES REPAIRED Palmberg, psycholo- ALL traying Carl at one time, in order to earn a liv- AND Oil Company gist and criminology expert, who ing in this country, young. Loewe SERVICED almost turns the tide in favor of resorted to everything from prize- WE APPRECIATE 2110 Grand Avenue the convicted woman. fighting to branding cattle on a YOUR PATRONAGE PASSOVER GREETINGS producer AL 4-5575 HAROLD HECHT was Montana ranch. BR 6-6352 4701 S. 19th Avenue of a highly intellectual picture re- Andre Previn, who supervised leased at year’s end, “Separate music for by and conducted the Tables,” from the two plays “Gigi,” is another child prodigy SUNCREST POULTRY FARMS Terence Rattigan, a deeply pene- who came to America when Hitler RANCH FRESH EGGS trating study of human relations rose to power in Germany. with a complete unity of time and JUST BEFORE New Year, Sol and "Farmer's Pride" Brands locale. Rita Hayworth (now Mrs. C. Siegel, head of MGM, pre- Passover Greetings "Suncrest" producer’s now Route 102 Hecht) starred with the sented his personal production of 6414 South 26th Street I—Box partner, Burt Lancaster; Deborah “Some Came Running,” based on PHOENIX Kerr opposite David Niven, the the controversial novel by James & Hearing latter giving the prize perform- Jones. In it Siegel saw the making Waldo Plumbing ance of the year. Harry Homer, of a powerful dramatic entertain- who came to this country at the ment—a town people with brilliant- Company of Arizona advent of Nazism, served as pro- ly conceived characters. duction designer. We felt that Dore Schary missed 2710 East Washington Hecht, originally a dancer turned the point with his filmization of agent, has made a fabulous career “Lonelyhearts.” In spite of an all- BR 5-5769 (Contracting only) PASSOVER GREETINGS as a producer. Though some of the star cast the story remains super- earlier films he co-produced to- ficial and all-too-dated. Schary, gether with Burt Lancaster were who not only produced the picture of the run-of-the-mill variety, he for his own company but also has shown courage and foresight wrote the screen play, defeated his Los Olivos 3-Minute Car Wash with such Paddy Chayefsky stor- high-minded ideals by having a ies as “Marty” and “The Bache- stage director with no cinematic presented through Passover Greetings East McDowell Road AL 3-0840 lor Party,” and experience handling the action. 232 their filmization a true image of The picture remained talky and, as he RYDZEWSKI, Manager middle-class American life, in many ways, resembles a photo- JOS. now does with British society in graphed stage play. “Separate Tables,” another exam- LESCHER and MAHONEY ARCHITECTS NU-WAY Title and Trust Bldg. AL 3-2144 Cleaning & Laundering 736 East Glendale Ave Wl 3-4146 907 Grand Avenue AL 4-3973 PASSOVER Passover Greetings Holiday Greetings HARRY KAY & Co. Agency GREETINGS General Insurance W. W. PILCHER R. D. OLLIVER 3500 North Central Ave.—Cß 7-5705 To The Phoenix A Passover Greetings Community TO OUR FRIENDS Jewish ¦ m tfXi Hp w ‘Vr L W. McCLAREN Glass and Glazing Contractor 3345 West McDowell Road 2228 Black Canyon Highway AP 8-0219 AP 8-3587 A Happy And Prosperous Passover : To All Our Friends Hannu's#•••• *9 Mliiy Harold H. Alpert & Family DESERT HILLS DESERT HILLS DEVELOPMENT CO.. INC. Phone. AL 4-7431 AL 4-8262 112 S.
Recommended publications
  • The Films of Raoul Walsh, Part 1
    Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema ....................
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
    The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1).
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]
  • Convert Finding Aid To
    Peter Glenville: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Glenville, Peter, 1913-1996 Title: Peter Glenville Papers Dates: 1914-2001 Extent: 37 document boxes, 5 oversize boxes, 4 oversize flat files (osf) (17.64 linear feet) Abstract: The Peter Glenville Papers embrace correspondence, business records, address books, appointment books, photographs, clippings, and personal documents. Spanning the years 1914 to 2001, the collection is largely in its original order, with the material in each series arranged alphabetically by original file title. Language: English Access: Open for research. Some materials have mold damage; see the Condition Note concerning access to these materials. Condition Note: Portions of the Peter Glenville Papers were damaged by mold during storage in the years after Glenville’s death. Most of the damaged materials were in sufficiently sound condition to permit the Ransom Center’s Conservation Department to clean them so that they could be safely handled and viewed with proper precautions. During cataloging, preservation photocopies were made of all personal correspondence located within the moderately mold-damaged materials (boxes 30-37) and these surrogates are now interfiled in the undamaged papers (boxes 1-29) to facilitate use of the collection. All photocopies are marked "Preservation photocopy of mold-damaged original in the Peter Glenville Papers." Researchers wishing to access the moderately mold-damaged originals located in boxes 30-37 are cautioned that while the Conservation Department has treated these manuscripts for mold infestation by aspiration and/or dry cleaning, mold may still be present. Users sensitive to mold should wear gloves and a dust/mist respirator while handling this material.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 09/30/2021 03:22:22PM Via Free Access
    Adaptable Terence Rattigan: Separate Tables, separate entities? dominic shellard T R’ has essentially been that of a theatre writer, and a conservative one, who is supposed to have avoided the darker themes that invaded the British stage after (roughly) the arrival of Look Back in Anger in 1956. This view of Rattigan is by now surely on its way out. His relation to the theatre and the so-called New Wave is undoubtedly more complex. However, his track record as a screenwriter, sometimes but not always adapting his own plays, should not be forgotten. In 1939 we have French Without Tears, then Quiet Wedding (1940), The Day Will Dawn (1942), Uncensored (1942), English Without Tears (1944), Journey Together (1945), The Way to the Stars (1945), While the Sun Shines (1947), Brighton Rock (1947, from Greene’s novel), Bond Street (1948), and then a wonderful version of his own play The Winslow Boy (1948). In the 1950s he wrote The Browning Version (1951), The Sound Barrier (1952), The Final Test (1953), then disappointingly The Man Who Loved Redheads (1954), but trium- phantly another adaptation of his own play The Deep Blue Sea (1955). The Prince and the Showgirl (1957), starring Marilyn Monroe and Laurence Olivier, who also directed, is often seen as the end of his film career. (It was an unsatisfactory, though intermittently charming, tardy revival of his Festival of Britain stage play that celebrated nation and the Oliviers – Vivien Leigh had the Monroe role – called The Sleeping Prince.) But actually his last film was much more distinguished: Separate Tables (1959), an American adaptation by Rattigan himself – but see below – of his own play (or rather two one- acters) of the same name.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • Adaptable Terence Rattigan: Separate Tables, Separate Entities? Dominic Shellard
    Adaptable Terence Rattigan: Separate Tables, separate entities? dominic shellard T R’ has essentially been that of a theatre writer, and a conservative one, who is supposed to have avoided the darker themes that invaded the British stage after (roughly) the arrival of Look Back in Anger in 1956. This view of Rattigan is by now surely on its way out. His relation to the theatre and the so-called New Wave is undoubtedly more complex. However, his track record as a screenwriter, sometimes but not always adapting his own plays, should not be forgotten. In 1939 we have French Without Tears, then Quiet Wedding (1940), The Day Will Dawn (1942), Uncensored (1942), English Without Tears (1944), Journey Together (1945), The Way to the Stars (1945), While the Sun Shines (1947), Brighton Rock (1947, from Greene’s novel), Bond Street (1948), and then a wonderful version of his own play The Winslow Boy (1948). In the 1950s he wrote The Browning Version (1951), The Sound Barrier (1952), The Final Test (1953), then disappointingly The Man Who Loved Redheads (1954), but trium- phantly another adaptation of his own play The Deep Blue Sea (1955). The Prince and the Showgirl (1957), starring Marilyn Monroe and Laurence Olivier, who also directed, is often seen as the end of his film career. (It was an unsatisfactory, though intermittently charming, tardy revival of his Festival of Britain stage play that celebrated nation and the Oliviers – Vivien Leigh had the Monroe role – called The Sleeping Prince.) But actually his last film was much more distinguished: Separate Tables (1959), an American adaptation by Rattigan himself – but see below – of his own play (or rather two one- acters) of the same name.
    [Show full text]
  • 1961-62 Year Book Canadian Motion Picture Industry
    e&xri-i METRO-GOLDWYN-MAYERtl WITH THESE CURRENT AMD CANADIAN OPENING! TORO NTO—October 2t UNIVERSITY THEATRE MONTREAL—November 2 ALOUETTE THEATRE Metro-Golduyn-Mayer present. VANCOUVER-Dec. 21 Samuel Bronston's Proaua STANLEY THEATRE IRAMA TECHNICOLOR JEFFREY HUNTER'■ SIOBHAN McKENNA • HURD HATFIELD-RON RANDELL • VIVECA LINDFORS-RITA GAM • CARMEN SEVILLA • BRIGID BAZLEN HARRY GUARDINO • RIP TORN • FRANK THRING • GUY ROLFE • MAURICE MARSAC • GREGOIRE ASLAN • ROBERT RYAN^n,^. Screen Play by PHILIP YORDAN * Directed by NICHOLAS RAY • Produced by SAMUEL BRONSTON METRO GOLDWYN MAYER PRESENTS METRO GOLDWYN MAYER presents a JULIAN BLAUSTEIN production <cMy\KMFY HI</\NI)C) Starring AS FLETCHER CHRISTIAN ri<i-\OR Howard GLENN FORD AS CAPTAIN BUGH INGRID THULIN CHARLES BOYER RICHARD HARRIS AS JOHN mills IN AN ARCOLA PRODUCTION LEE J. COBB PAUL HENREID co starring QMUTluvy qjvT ui'HTt BcyujViy PAUL LUKAS YVETTE MIMIEUX KARL BOEHN co-sTunim HUGH GRIFFITH RICHARD HAYDN »»»TARITA screen play by ROBERT ARDREY and JOHN GAY BASED ON THf NOVEL BVCHARLES NOROHOff AND JAMS S NORMIN HAH based on the novel by directed by omcnm.LEWIS MILESTONE PRODUCE 0 BY AARON ROSENBERG VICENTE BLASCO IBANEZ • VINCENTE MINNELLI TECHNICOLOR • FILMED IN ULTRA PANAVISION in CINEMASCOPE and METROCOLOR 19 CONTINUES ITS SUCCESS STORY COMING BOX-OFFICE ATTRACTIONS! BRIDGE TO THE SUN BACHELOR IN PARADISE CARROLL BAKER, James Shigeta, BOB HOPE, LANA TURNER, James Yagi, Emi Florence Hirsch, Janis Paige, Jim Hutton, Paula Prentiss, Nori Elizabeth Hermann. Don Porter, Virginia Grey, Agnes Moorehead. A Cite Films Production. A Ted Richmond Production. ★ In CinemaScope and Metrocolor SWEET BIRD OF YOUTH ★ PAUL NEWMAN, GERALDINE PAGE, TWO WEEKS IN ANOTHER TOWN Shirley Knight, Ed Begley, Rip Torn, KIRK DOUGLAS, Mildred Dunnock.
    [Show full text]
  • Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood Publicist
    Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist HALL, Sheldon <http://orcid.org/0000-0003-0950-7310> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/6808/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HALL, Sheldon (2013). Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist. InMedia, 2013 (3). Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Jerry Pickman: “The Picture Worked” Reminiscences of a Hollywood publicist Edited and introduced by Sheldon Hall Contact details: Dr. Sheldon Hall Dept. of Stage and Screen Studies Room Owen 1130 Sheffield Hallam University Howard Street Sheffield S1 1WB Telephone: 0114 225 6224 Mobile: 07845 704 205 Email: [email protected] - 1 - Jerry Pickman: “The Picture Worked” Excerpts from the reminiscences of a Hollywood publicist Jerome (Jerry) Pickman (b. 24 August 1916; d. 18 November 2010) worked for more than fifty years in Hollywood film marketing and distribution. A native New Yorker, Pickman served as a reporter on the Brooklyn Eagle and other New York newspapers and took a law degree before entering show business as a publicist for Ted Lewis, Tommy Dorsey, and other musicians and bands. His association with the film industry began in 1944 through a chance meeting with the entertainer Eddie Cantor, who employed Pickman in a personal capacity before he joined the publicity department of Twentieth Century-Fox later that year.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]