The Silent Film Project
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Mabel's Blunder
Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914. -
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
Final Judgment: U.S. V. Motion Picture Patents Company, Et
THE UNITED STATES OF AMERICA, PETITIONER, vs. MOTION PICTURE PATENTS COMPANY, GENERAL FILM COM PANY, BIOGRAPH COMPANY, THOMAS A. EDISON (INC.), ESSANAY FILM MANUFACTURING COMPANY, THE KALEM COMPANY, (INC.), GEORGE KLEINE, LUBIN MANUFAC TURING COMPANY, MELIES MANUFACTURING COMPANY, PATHE FRERES, THE SELIG POLYSCOPE COMPANY, THE VITAGRAPH COMPANY OF AMERICA, ARMAT MOVING PICTURE COMPANY, FRANKL. DYER, HENRY N. MARVIN, J. J. KENNEDY, WILLIAM PELZER, SAMUEL LONG, J. A. BERST, SIEGMUND LUBIN, GASTON MELIES, ALBERT E. SMITH, GEORGE K. SPOOR, AND W. N. SELIG, DEFEN DANTS. Before OLIVER B. DICKINSON, United States District Judge. DECREE. This cause came on for final,, hearing upon the plead ings and all the evidence and was argued on behalf of the petitioner by Edwin P. Grosvenor, Special Assistant to the Attorney General, and on behalf of the defendants by Charles F. Kingsley, Melville Church and Hon. Reuben 0. Moon, and thereafter, upon consideration thereof, the Court announced and caused to be filed, on October 1, 1915, its written opinion therein. Whereupon the Court adjudged, ordered and decreed as follows: First. That the petition be and is hereby dismissed as to the defendant, Melies Manufacturing Company. Second. The death of Samuel Long occurred after the final hearing and there has been no revivor. Third. That the defendants (other than the Melies Manufacturing Company, against whom the petition is dismissed) and each of them, have attempted to monopo lize and have monopolized and have combined and con spired, among themselves -
Of Materials, Implements
of materials, implements Larkin Higgins of materials, implements Larkin Higgins Dusie Kollektiv 2011 www.dusie.org meditations on alignment | 1 | slightly asymmetrical the face examined space a sophisticated system body as built dwelling site shelter in sum living | 2 | align liberally revere walls of each room reflect this as do objects on tables and shelves entering any space | 3 | visceral response invariably remains unexplained the perception attaches to its inhabitants an underlying equation | 4 | the critical outer layer undermining ideas even the pillow has its corners `No Sinecure : influenced by aire was not tied was not sealed flew open from the force of the impact Duplicate boxes already packed and in my pocket The Wrong House : influenced by earth three things to- gether in my hand? curious affection of the eyes bee-brooch too puzzled clouded spectacles too keen not the rich complexion the cheapest shot in the game dear ones pecul- fool’s errand iarly pale some things are worth pay- confined to berth ing certain risks Our landlady arbitrarily forbidding the doctor inside her door Raffles short for Ralph? but it’s longer It was an ideal cottage from November to March The winter of so many burglaries The right house stood on high ground— between two gates a half-moon of shrubs The right house the residence of a heavy watchchain fair game manners and customs fell within the field of observation what he would have done in my place was the thing for me to do now I dove head-first through the pan- try window and came to earth on -
Raffles for Summer Youth Programs: Gun Raffles: $10 Per Ticket
Raffles for Summer Youth Programs: Gun Raffles: $10 per ticket Only 125 tickets sold per gun Must be present to win. Raffle proceeds will go toward Summer Youth Programs at the Nature Center. 1. Sig Sauer P320 Compact 9mm Luger with Night Sights. Value: $679 2. Savage Arms Model 11 Trophy Hunter XP 22-250 Caliber with a Nikon 3-9x40 scope. Value: $629 Pistol winner must have Concealed Carry Permit or Permit to Acquire prior to taking ownership. Winners must complete paperwork and pick up guns at Small Town Sportsman in Kingsley, Iowa within one week after the event. Thanks to Small Town Sportsman and Dave Riemenschneider for their donation! Raffle Tickets Available at Nature Calls Event at the Sioux City Convention Center on Saturday, September 22, 2018 Special Raffles: $10 per ticket Big Frig Denali 45 Qt Cooler Value: $239 Going out on your next adventure? Our Denali 45 qt Cooler is ready to go! It's big enough to hold your colossal catch of the day but small enough to carry by yourself. The most popular size in our Denali Series, this iconic 45 qt cooler is excellent for backyard barbecues or your upcoming fishing trip. Each cooler is equipped with a cutting board divider and a basket. Thanks to Big Frig! VIZIO 50" Class SmartCast Smart Full-Array LED TV Value: $448 Donated by: Great Western Bank – Aaron Gehling VIZIO D-Series™ Full-Array LED Smart TV with Full HD resolution and the vibrant picture performance of Full-Array LED backlighting. Access top apps like Netflix easily with SmartCast TV℠ using the included remote to browse and launch TV shows and movies directly from the TV screen and with Chromecast built-in, stream thousands of Chromecast-enabled apps you love from your phone straight to your TV. -
Ghp Stopl (Sazrtfr Att& (Eolontat Hatlg
^PPip «^p -• fflSle GHp Stopl (Sazrtfr att& (Eolontat Hatlg INCORPORATING THE ROYAL GAZETTE (Etffcblished 1828) and THE BERMUDA COLONIST (Established 1866) VOL. 15~~NO. 231 HAMILTON. BERMUDA, WEDNESDAY, OCOTBER 1, 1930 3D PER COPY—AOl- PER ANNUM ENGLAND MOURNS LOSS OF BRIIXIANT IAWYER^STATEMAN PREMIERS GATHER FOR DEATH OF LORD THE BERMUDA NEW YOK STOCK [ THEY SAY fl BIRKENHEAD RAILWAY MARKET That the expected flight of the Do-X IMPERIAL CONFERENCE is creating quite a lot of interest. Rapid Progress Expected * » * Brilliant Statesman, That it should mark an era ln de Hfr~ Yesterday's Closing velopment. Shortly * * * Lawyer and Writer Prices That proper recognition of the event Germany Faced With Big in consequence of a cable des should be made. patch received by us yesterday to * * * A special Reuter's despatch re the effeot-teat a railway construct Alleghany Oorp -„-„..- 18 That some will regret a foreign ion expert-.had sailed -by the Lady r Deficit ceived by the Royal Gazette and Allied Chemical. __. N.Q. firm is first in the field. Colonist Daily yesterday announced Somers to start construction on * * * Bermuda's first railway, our re Am. Oan 117 the death of Lord Birkenhead whose Am. ft Foreign Power 53) That nevertheless the first should health has been giving consider presentee called on Mr. O. A. always receive credit. Jones, the construction manager Am. Locomotive. 37} able anxiety for some time. Few Am. Power & Light... 70 * • • men of the present age have had a for Messrs Balfour, Beatty, & Com pany, **tho are building the railway. Am. Smelting & Refining. -
Hooray for Hollywood!
Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing. -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
Hands Up! by Steve Massa
Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923). -
The Silent Film Project
e t 02-28-2018 Films that have completed scanning:Th Silen Film Project TITLE YEAR STUDIO DIRECTOR STAR e 13AdventuresWashington of BillSquare and [1921]1928 UniversalPathegram MelvilleRobert N.W. BradburyBrown JeanBob SteeleHersholt Alic Joyce Bob, The (Skunk, The) After the Storm (Poetic [1935] William Pizor Edgar Guest, Al Shayne Gems) African Dreams [1922] Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The Aladdin And The 1917 Fox Film C. M. Franklin Francis Carpenter Wonderful Lamp (Aladdin) Alexandria 1921 Burton Burton Holmes Holmes An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest Animals of the Cat Tribe 1932 Eastman Teaching Films Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales Aryan, The 1916 Triangle William S. Hart William S. Hart At First Sight 1924 Hal Roach J A. Howe Charley Chase Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee, Sideny Drew Autumn (nature film) 1922 Babies Prohibited 1913 Thanhouser Lila Chester Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri Barnyard Cavalier 1922 Christie Bobby Vernon Barnyard Wedding [1920] Hal Roach Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel Bebe Daniels & Ben Lyon 1931- Bebe Daniels, Ben Lyon home movies 1935 Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean Below The Deadline 1929 Chesterfield J. P. McGowan Frank Leigh Big Pal 1925 William John G. Adolfi William Russell Russell Blackhawk Silent Tailers / 1920- Blackhawk [Our Next Attraction] 1927 Black Sambo's Escape [1925] Keystone e al f e e f , e e f Th go o th Silent Film Project at th Library o Congress is to borrow catalog, digitally preserve, and ensur th availability o silent (and selected sound era) films for public viewing and research. -
The Face in the Abyss
The Face in the Abyss A. E. Merritt The Face in the Abyss Table of Contents The Face in the Abyss...............................................................................................................................................1 A. E. Merritt...................................................................................................................................................1 CHAPTER I. Suarra.......................................................................................................................................1 CHAPTER II. The Unseen Watchers............................................................................................................8 CHAPTER III. The White Llama...............................................................................................................13 CHAPTER IV. The Thing That Fled...........................................................................................................20 CHAPTER V. The Elfin Horns....................................................................................................................25 CHAPTER VI. The Face in the Abyss........................................................................................................34 CHAPTER VII. The Guarded Frontier........................................................................................................41 CHAPTER VIII. The Lizard Men................................................................................................................48 CHAPTER IX.