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The Oxford Dictionary of Modern Quotations.TXT
The Oxford Dictionary of Modern Quotations PREFACE Preface =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- This is a completely new dictionary, containing about 5,000 quotations. What is a "quotation"? It is a saying or piece of writing that strikes people as so true or memorable that they quote it (or allude to it) in speech or writing. Often they will quote it directly, introducing it with a phrase like "As ---- says" but equally often they will assume that the reader or listener already knows the quotation, and they will simply allude to it without mentioning its source (as in the headline "A ros‚ is a ros‚ is a ros‚," referring obliquely to a line by Gertrude Stein). This dictionary has been compiled from extensive evidence of the quotations that are actually used in this way. The dictionary includes the commonest quotations which were found in a collection of more than 200,000 citations assembled by combing books, magazines, and newspapers. For example, our collections contained more than thirty examples each for Edward Heath's "unacceptable face of capitalism" and Marshal McLuhan's "The medium is the message," so both these quotations had to be included. As a result, this book is not--like many quotations dictionaries--a subjective anthology of the editor's favourite quotations, but an objective selection of the quotations which are most widely known and used. Popularity and familiarity are the main criteria for inclusion, although no reader is likely to be familiar with all the quotations in this dictionary. The book can be used for reference or for browsing: to trace the source of a particular quotation or to find an appropriate saying for a special need. -
FAMILY MATINEES Saturday and Sunday Afternoons
FAMILY MATINEES Saturday and Sunday afternoons DUCK SOUP Saturday, January 15, 2011 12:30 p.m. 1933, 68 min. 35mm print source: Universal Pictures. Directed by Leo McCarey. Screenplay and songs by Bert Kalmar and Harry Ruby. Produced by Herman J. Mankiewicz. Photographed by Henry Sharp. Production design by Hans Dreier and W. B. Ihnen. Edited by LeRoy Stone. Principal cast: Groucho Marx (as Rufus T. Firefly), Harpo Marx (Pinky), Chico Marx (Chicolini), Zeppo Marx (Lt. Bob Roland), Margaret Dumont (as Mrs. Gloria Teasdale), Raquel Torres (Vera Marcal), Louis Calhern (Trentino), Edmund Breese (Zander), Edgar Kennedy (street vendor). From The Marx Brothers by William Wolf, Pyramid, Satire has always been a virtually dirty word in 1975: Hollywood. Anything that smacks of intellectualism has mostly been shunned by Duck Soup , the Marx Brothers’ last film for executives who find “entertainment” a more Paramount, looms as among the most important in magical word. Therefore, one must take with a their careers. It is a pivotal picture, which reveals grain of salt the protestations that Duck Soup was the social satire of which they were capable, and meant only to be funny, and that it was merely a seeing it again raises anew the question of why this case of finding a new environment for the routines avenue of expansion was closed to them. The of the brothers, who just happened to do a comedy picture is now a special favorite of Marx that spoofs sacred cows. This is not to say that aficionados and for very good reason. It is everything film buffs now read into the film was surrealistic comedy which neatly blends barbs at planned that way. -
Guide to the Groucho Marx Collection
Guide to the Groucho Marx Collection NMAH.AC.0269 Franklin A. Robinson, Jr. and Wendy Shay 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Correspondence, 1932-1977, undated..................................................... 6 Series 2: Publications, Manuscripts, and Print Articles by Marx, 1930-1958, undated .................................................................................................................................. 8 Series 3: Scripts and Sketches, 1939-1959, undated............................................. -
Final Thesis
YALE UNIVERSITY New Haven, CT IT’S NO JOKE: The Use of Humor by Presidential Candidates from Kennedy to Trump and the Path to Power Through One-Liners, Talk Shows, and Tweets A thesis submitted in partial fulfillment of the requirements for the degree of the Bachelor of Arts in Political Science By Abigail Bessler Advised by Professor Walter Shapiro April 2017 Table of Contents INTRODUCTION...................................................................................................................Page 3 THEORIES OF LAUGHTER.................................................................................................Page 7 “What is its nature?”...................................................................................................Page 7 “What is its source?”...................................................................................................Page 8 “Should an orator want to stir up laughter?”.............................................................Page 10 “To what extent?”.....................................................................................................Page 13 “Into what categories can the humorous be divided?”..............................................Page 13 A (BRIEF) HISTORY OF PRESIDENTIAL ELECTION HUMOR...................................Page 14 John F. Kennedy and the Politics of Personality......................................................Page 15 Richard “Sock It to Me?” Nixon...............................................................................Page 18 Ronald -
Page 1 of 12 Moma | Press | Releases | 2000 | Exhibition Features
MoMA | press | Releases | 2000 | Exhibition Features Films from a Diversity of Genres ab... Page 1 of 12 EXHIBITION FEATURES FILMS FROM A DIVERSITY OF GENRES ABOUT WARS THAT NEVER TOOK PLACE For Immediate Release September 2000 The Imaginary War September 14–October 15, 2000 The Roy and Niuta Titus Theaters 1 and 2 The Imaginary War is an international selection of films about fictional wars that served as warnings or critiques of real wars. The exhibition includes a range of films, from Aelita (1924), Yakov Protazanov’s fantasy of a proletarian uprising on Mars, and the Marx Brothers’s anti- totalitarian burlesque Duck Soup (1933), to Stanley Kubrick’s atomic satire Dr. Strangelove (1964) and Barry Levinson’s prescient Wag the Dog (1997). The Imaginary War, part of The Museum of Modern Art’s Open Ends exhibition, is on view from September 14 to October 15, 2000. The program was organized by Joshua Siegel, Assistant Curator, Department of Film and Video. The Imaginary War was inspired by a comment Jean-Luc Godard made about his 1963 film Les Carabiniers, an anti-war allegory that shatters all conventions of the genre by blending documentary actuality and fanciful invention: “In dealing with war, I followed a very simple rule. I assumed I had to explain to children not only what war is, but what all wars have been …rather as if I were illustrating the many—yet always drearily familiar—faces of war by projecting imagerie sheets through a magic lantern, in the manner of the early cameramen who used to fabricate newsreels.” The Imaginary War features a diversity of genres—science fiction and fantasy, slapstick comedy and the political thriller, pseudo-documentary and experimental and animation works. -
October 2006 Over 1,500 Subscribers Number 11 Contents Will the Real Matt Dillon
The Old Radio Times The Official Publication of the Old-Time Radio Researchers October 2006 Over 1,500 Subscribers Number 11 Contents Will the Real Matt Dillon Special Features Please Stand Up? Bruce Behan Matt Dillon 1 Listening to Doing 4 I just purchased a 3-DVD set containing 19 Collecting 78s 5 episodes of the classic television series Gunsmoke . I grew up watching and loving Groucho & Co., Pt. 2 Gunsmoke for most of its television run (in 9 addition to the regular weekly hour-long color The Clock 13 broadcasts, we got reruns of the half hour OTR Blogs 14 black and white episodes on a local CBS Radio in 1945 15 affiliate). But I can just barely remember listening to it on radio, since I was only eight Popeye’s Wheatana 25 years old when the radio version was cancelled. Many years later, long after Gunsmoke had left television and I had Regular Features become a grown man, I happened to hear one Crossword 21 of the old radio episodes on radio station Wistful Vistas 22 WBBM in Chicago. The episode was “Prairie Happy,” and I fell in love all over again. New Release: Since then I have become something of a Gunsmoke 23 “Gunsmoke activist,” praising this series to New Release: Day of anyone who will listen, and eagerly sharing William Conrad as Matt Dillon the Triffid 24 my collection of radio episodes with family by his own admission, “a little lonely,” due to Librarian’s Shelf 26 and friends alike. the nature of his job as marshal, a position Treasury 27 When I purchased the DVD’s, it was partly filled with dangers that prevent his leading a because of my earlier love for the old TV Buy-Sell-Trade 29 normal life. -
Groucho Marx Papers [Finding Aid]. Manuscript Division, Library Of
Groucho Marx Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2006 Contact information: http://hdl.loc.gov/loc.mss/mss.contact Catalog Record: https://lccn.loc.gov/mm82047845 Additional search options available at: https://hdl.loc.gov/loc.mss/eadmss.ms010073 Prepared by Donna Ellis with the assistance of Jewel Parker Finding aid encoded by Library of Congress Manuscript Division, 2010 Collection Summary Title: Groucho Marx Papers Span Dates: 1930-1967 Bulk Dates: (bulk 1950-1965) ID No.: MSS47845 Creator: Marx, Groucho, 1890-1977 Extent: 1,000 items Extent: 6 containers Extent: 2.4 linear feet Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/mm82047845 Summary: Humorist and actor. Correspondence, book typescripts, and film scripts relating to Marx’s life and acting career. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Ace, Goodman--Correspondence. Allen, Fred, 1894-1956--Correspondence. Blake, George, 1917-1955--Correspondence. Cavett, Dick--Correspondence. Eliot, T. S. (Thomas Stearns), 1888-1965--Correspondence. Lewis, Jerry, 1926-2017--Correspondence. Marx, Groucho, 1890-1977. Marx, Groucho, 1890-1977. Groucho and me. 1959. Sheekman, Arthur, 1901-1978--Correspondence. Truman, Harry S., 1884-1972--Correspondence. White, E. B. (Elwyn Brooks), 1899-1985--Correspondence. Subjects Motion picture actors and actresses. Motion picture industry--United States. Motion picture plays. -
Listing by Title-Director-Cinematographer-Editor-Writer Title Director Cinematographer Editor Writer
Listing by Title-Director-Cinematographer-Editor-Writer Title Director Cinematographer Editor Writer ...And the Pursuit of Happiness Malle, Louis Malle, Louis Baker, Nancy * ¡Alambrista! Young, Robert M. Hurwitz, Tom; Robert M. Young Beyer, Edward Young, Robert M. 10 Rillington Place Fleischer, Richard Coop , Denys N. Walter, Ernest Kennedy , Ludovic; Clive Exton 10:30 PM Summer Dassin, Jules Pogány, Gábor Dwyre, Roger Duras, Marguerite; Jules Dassin 10th Victim, The Petri, Elio Di Venanzo, Gianni Mastroianni , Ruggero Sheckley, Robert; Tonino Guerra; Giorgio Salvioni, e 12 Angry Men Lumet, Sidney Kaufman, Boris Lerner , Carl Rose, Reginald 1900 Bertolucci, Bernardo Storaro, Vittorio Arcalli, Franco Arcalli, Franco; Bernardo Bertolucci 1917 Mendes, Sam Deakins, Roger Smith, Lee Mendes, Sam; Krysty Wilson-Cairns 1984 Radford, Michael Deakins, Roger Priestley, Tom Radford, Michael; George Orwell 2 or 3 Things I Know About Her Godard, Jean-Luc Coutard, Raoul Collin, Françoise Godard, Jean-Luc 20 Million Miles to Earth Juran, Nathan Lippman, Irving; Carlo Ventimiglia Bryant, Edwin H. Williams, Robert Creighton; Christopher Knopf 2001: A Space Odyssey [4K UHD] Kubrick, Stanley Unsworth, Geoffrey Lovejoy, Ray Clarke, Arthur; Stanley Kubrick 2046 Wong, Kar Wai Doyle, Christopher; Pung-Leung Kwan Chang, William Wong, Kar Wai 21 Grams Iñárritu, Alejandro González Prieto, Rodrigo; Fortunato Procopio Mirrione, Stephen Arriaga, Guillermo 23 Paces to Baker Street Hathaway, Henry Krasner, Milton R. Clark, James B. Balchin, Nigel; Philip MacDonald 24 City Zhangke, Jia Wang, Yu; Nelson Yu Lik-wai Kong, Jing Lei; Xudong Lin Zhang-ke, Jia; Yongming Zhai 24 Frames Kiarostami, Abbas * * * 25th Hour Lee, Spike Prieto, Rodrigo Brown, Barry Alexander Benioff, David 3 Godfathers Ford, John Hoch, Winton C. -
'S GREATEST MOVIE MUSICALS
‘s GREATEST MOVIE MUSICALS AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. Ballot2.indd 1 5/16/06 12:27:06 PM 1 ALADDIN 5 AN AMERICAN IN PARIS 9 BABES IN TOYLAND Disney, 1992 Metro-Goldwyn-Mayer, 1951 Metro-Goldwyn-Mayer, 1934 PRINCIPAL CAST Robin Williams, Scott Weinger, Linda Larkin (Voices) PRINCIPAL CAST Gene Kelly, Leslie Caron, Oscar Levant PRINCIPAL CAST Virginia Karns, Charlotte Henry, Felix Knight DIRECTORS Ron Clements, John Musker DIRECTOR Vincente Minnelli DIRECTORS Gus Meins, Charles Rogers PRODUCERS Ron Clements, John Musker PRODUCER Arthur Freed PRODUCER Hal Roach SCREENWRITERS Ron Clements, John Musker, Ted Elliot, Terry Rossio SCREENWRITER Alan Jay Lerner SCREENWRITERS Frank Butler, Nick Grinde MUSIC/LYRICS Alan Menken, Tim Rice, Howard Ashman CHOREOGRAPHER Gene Kelly MUSIC/LYRICS Victor Herbert/Glen MacDonough MUSIC/LYRICS George Gershwin/Ira Gershwin SONG SELECTIONS “A Whole New World” SONG SELECTIONS “Toyland” “Friend Like Me” SONG SELECTIONS “I Got Rhythm” “Don’t Cry, Bo-Peep” “One Jump Ahead” “I’ve Got a Crush on You, Sweetie Pie” “Go to Sleep, Slumber Deep” “Our Love Is Here to Stay” 2 ALEXANDER’S RAGTIME BAND 10 BABES ON BROADWAY Twentieth Century-Fox, 1938 6 ANCHORS AWEIGH Metro-Goldwyn-Mayer, 1941 Metro-Goldwyn-Mayer, 1945 PRINCIPAL CAST Tyrone Power, Alice Faye, Don Ameche PRINCIPAL CAST Mickey Rooney, Judy Garland, Fay Bainter DIRECTOR Henry King PRINCIPAL CAST Gene Kelly, Frank Sinatra, Kathryn Grayson DIRECTOR Busby Berkeley PRODUCER Harry Joe Brown DIRECTOR George Sidney PRODUCER Arthur Freed SCREENWRITERS Kathryn Scola, Lamar Trotti PRODUCER Jon Pasternak SCREENWRITERS Fred Finklehoffe, Elaine Ryan CHOREOGRAPHER Seymour Felix SCREENWRITER Isobel Lennart MUSIC/LYRICS Burton Lane/Arthur Freed, Roger Edens, E.Y. -
Listing by Writer-Title-Director-Year-Country-Length Writer Title Director Year Country Length
Listing by Writer-Title-Director-Year-Country-Length Writer Title Director Year Country Length Watkins, Maurine Dallas; Milton Herbert Gropper No Man of Her Own Ruggles, Wesley 1932 USA 85 min * ...And the Pursuit of Happiness Malle, Louis 1986 FR 81 min * 24 Frames Kiarostami, Abbas 2017 IR 114 min * A Constant Forge: The Life and Art of John Cassavetes Kiselyak, Charles 2000 USA 200 min * A Midsummer Nights Dream * 1981 UK 112 min * A Trick of Light Wenders, Wim 1995 DE 76 min * A Well Spent Life Blank, Les 1971 USA 44 min * Act of Killing, The Oppenheimer, Joshua 2012 ID 122 min * Adam: Giselle (Dutch National Ballet) * 2010 NL 114 min * Adventures on the New Frontier Leacock, Richard; Albert Maysles; D.A. Pennebaker; et al. 1961 USA 52 min * Albertville 1992 "One Light, One World" Jalbert, Joe Jay; R. Douglas Copsey 1992 FR 104 min * Alfred Hitchcock Presents: Season 1 * 1955 USA 566 min * Alfred Hitchcock Presents: Season 2 * 1956 USA 1014 min * Alfred Hitchcock Presents: Season 3 * 1957 USA 1041 min * Alfred Hitchcock Presents: Season 4 * 1958 USA 931 min * Alfred Hitchcock Presents: Season 5 * 1959 USA 985 min * Always for Pleasure Blank, Les 1978 USA 57 min * Amsterdam 1928 "The IX Olympiad in Amsterdam" * 1928 NL 251 min * Amsterdam 1928 "The Olympic Games, Amsterdam 1928" Prager, William; Jules Perel 1928 NL 192 min * An Evening with the Alvin Ailey American Dance Theater Grimm, Thomas 2015 USA 108 min * Antonio Gaudí Teshigahara, Hiroshi 1984 JP ES 72 min * Apocalypse Now: Extras [BD: Disc 5] Coppola, Francis Ford 2010 USA PH 300+ min * Art Blakey & The Jazz Messengers Live in '58 * 2006 BE 55 min * As You Like It * 1978 UK 150 min * Athens 2004 "Athens 2004: Stories of Olympic Glory" Greenspan, Bud 2005 GR 96 min * Atlanta 1996 "Atlanta’s Olympic Glory" Greenspan, Bud 1997 USA 206 min Monday, August 2, 2021 Page 1 of 115 Writer Title Director Year Country Length * Atomic Bomb Collection Kuran, Peter 2000 USA 249 min. -
Joseph Heller Michael Crichton
From “Avid Reader,” Robert Gottlieb on working with a few of his authors. Joseph Heller On Catch 22, as on all other books we worked on together, Heller was sharp, tireless, and ruthless (with himself), whether we were dealing with a word, a sentence, a passage of dialogue, or a scene. We labored like two surgeons poised over a patient under anaesthesia. “This isn’t working here.” “What it we move it there.” “No, better to cut.” “Yes, But then we have to change this.” “Like this?” “No like that.” “Perfect!” Either of us could have been either voice in this exchange. I wasn’t experienced enough then to know how rare his total lack of defensiveness was. Joe and I worked with the same focus and compatibility on Something Happened. As we were finishing up I said to him, “One last thing. Your man’s name is Bill Slocum, but it doesn’t sound right to me. I don’t think he’s a Bill.” When Joe asked me what name would sound right, I said, “Bob. He’s a Bob.” This was one of the very few times I ever saw Joe nonplussed. “He was Bob,” he said. “I changed him to Bill because I thought you might be upset.” I told him it didn’t upset me at all. “This guy is nothing like me. We just happen to share a name.” So Bill was restored to Bob. This is the closest I’ve ever come to feeling complete identification with a writer. Michael Crichton Crichton had a keen eye, or nose, for cutting-edge areas of science that could be used as material for thrillers while cleverly popularizing the hard stuff for the general public. -
Duck Soup by William Wolf “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Duck Soup By William Wolf “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author When Paramount released “Duck Soup” in 1933, the re- views were mixed and the film’s lack of commercial suc- cess ended the Paramount-Marx Brothers relationship. Yet appreciation for this anarchic, hilarious movie has grown through the years, and many justifiably regard “Duck Soup” as the ultimate Marx Brothers work, the film that best reveals the essence of their talent and originality. No matter how much we laugh at “A Night at the Opera” and “A Day at the Races,” or subsequent Marx Brother films, we would never see another that captures their comic style with the utter abandon and purity found in “Duck Soup.” The film represented a fork in the road in their careers, which veered into a more structured, com- mercial environment under the aegis of MGM’s “boy- wonder,” producer Irving Thalberg. He apparently be- lieved that the brothers could be packaged with broader appeal if their antics were occasionally relieved by un- Marxist musical production numbers. But did the brothers Marx really need the singing of Al- Courtesy Library of Congress Prints & Photographs Online Collection lan Jones and Kitty Carlisle? Did they need the racist dance number that intrudes upon “A Day at the Races” But some, including Allen, have rejected the idea that it and is an embarrassment when we watch it now? Artisti- was intended as political satire. Whatever the intent, the cally, if not commercially, it was a mistake to mold their satire is certainly there.