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Bvformation to Users
BVFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the tect directly fix>m the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from 1 ^ to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Compaiqr 300 North Zeeb Road, Ann Arbor MI 4S106-1346 USA 313/761-4700 800/521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE HACKING AWAY WITH AN AX; HENRY MILLER AND MODERNITY A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By STEPHEN L STARCK Norman, Oklahoma 1999 UMI Number: 9918759 UMI Microform 9918759 Copyright 1999, by UMI Company. -
Vintage Uke Music Revised 2020.Xlsx
9/20/2020 Title Folder 12 street rag !no covers a fool such as i (now and then there's) A A Lady Loves ‐ 1952 L A Man Never Marries A Wife ‐ 1951 M A Nickel Ain't Worth A Cent Today ‐ 1951 N A Picnic In The Park ‐ 1951 P A Sleepin' Bee ‐ 1954 S a very precious love !no covers a woman in love !no covers A Woman In Love ‐ 1955 W a you're adorable A abdul the bulbul ameer A Abie's Irish Nose ‐ 1925 A About A Quarter To Nine A absence makes heart grow fonder A accent on youth A ac‐cent‐tchu‐ate the positive A Across The Breakfast Table ‐ 1929 A Adam's Apple A Adelaide ‐ 1955 A Adios A Adorable ‐ 1933 A After a million dreams A after all it's you A After All You're All I'm After ‐ 1930 A After All You're All I'm After ‐ 1933 A After Business Hours ‐ 1929 A after i say i'm sorry A after i've called you sweetheart A After My Laughter Came Tears A After Tea ‐ 1925 A after you A After You Get What You Want A After You Get What You Want You Don't Want It ‐ 1920A After You've Gone A after_my_laughter_came_tears A ah but is it love A Ah But It Is Love ‐1933 A ah sweet mystery of life A Ah Wants To Die From Eatin' Possum Pie ‐ 1925 A Ah! The Moon Is Here ‐ 1933 A ah‐ha A ain't gonna rain new verses A Ain't Got A Dime To My Name ‐ 1942 A ain't it cold !no covers ain't misbehavin' A aint misbehavin vintage !no covers aint no flies on auntie A Ain't No Flies On Aunty A ain't no land like dixie A aint she sweet A Ain't That a Grand and Glorious Feeling ‐ 1927 A Ain't we carryin' on A Ain't We Got Fun A Ain't You Baby A ain't_misbehavin' A Ain't‐cha A alabama -
FOREST LAWN MEMORIAL PARK Hollywood Hills Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills
Welcome to FOREST LAWN MEMORIAL PARK Hollywood Hills Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Order of Service Waltzing Matilda Played by the Forest Lawn Organist – Anthony Zediker Eulogy to be read by Jack. L. Warner Pall Bearers, To be Announced. Photo by Tony Duran Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Photo by Tony Duran Orry George Kelly December 31, 1897 - February 27, 1964 Forest Lawn Memorial Park Hollywood Hills Orry-Kelly Filmography 1963 Irma la Douce 1942 Always in My Heart (gowns) 1936 Isle of Fury (gowns) 1963 In the Cool of the Day 1942 Kings Row (gowns) 1936 Cain and Mabel (gowns) 1962 Gypsy (costumes designed by) 1942 Wild Bill Hickok Rides (gowns) 1936 Give Me Your Heart (gowns) 1962 The Chapman Report 1942 The Man Who Came to Dinner (gowns) 1936 Stage Struck (gowns) 1962 Five Finger Exercise 1941 The Maltese Falcon (gowns) 1936 China Clipper (gowns) (gowns: Miss Russell) 1941 The Little Foxes (costumes) 1936 Jailbreak (gowns) 1962 Sweet Bird of Youth (costumes by) 1941 The Bride Came C.O.D. (gowns) 1936 Satan Met a Lady (gowns) 1961 A Majority of One 1941 Throwing a Party (Short) 1936 Public Enemy’s Wife (gowns) 1959 Some Like It Hot 1941 Million Dollar Baby (gowns) 1936 The White Angel (gowns) 1958 Auntie Mame (costumes designed by) 1941 Affectionately Yours (gowns) 1936 Murder by an Aristocrat (gowns) 1958 Too Much, Too Soon (as Orry Kelly) 1941 The Great Lie (gowns) 1936 Hearts Divided (gowns) -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Torrance Herald
THURSDAY, APRIL 4, 1936 Page 4-B TORRANCE HERALD, Torrance, California "David Copperfield" "One More Spring" Opens At Black Outrage Portrayed In * 9 At Lomita Tonigh Deer and Lion Share Dramatic Honors In 'Sequoia Film Play, "dive of India' the Lomita, Sunday, April 7 Above are ahown W. C. Fields and the sensational boy >t«r, Freddie Bartholomew, aa "David Copperfield" in Dickens* Immortal story, which will be seen on the -Jean Parker in. a Scenelfrt>rm",Sequpiii}'' screen at the Lomita- Theatre, to The most amazing revelation o night, Friday and Saturday. Other* nature's intimate secrets ever at in the . impressive cast include "Sand Hogs'-Battle the River tempted for the screen IB to b Edna May Oliver, Roland Young, e black crime of the Black tury production starring; Ronald seen In "Sequoia" (pronounced Krank Lawton and Maureen O'Sul- Colman, which comes to Jhe Tor "See-Quo-Yah"), startling: outdo Hole of Calcutta is brought to drama featuring Jean Parker and livan. rance Theatre tonight, Friday i ght pn the screen for the first Saturday. showing at .the Torrance Theatre Pontiac Dealer Ime in "Clive of India," Darryl F Not even the Bastille of Fra Sunday and Monday. &AFFLING Call 444 for Ad Service anuck's million-dollar 20th Cen- or the Tower of London hou Nearly -two years In the fllmln! double murder Invites Public to greater horror than that infann the picture deals with a friendshl cell, some 18 feet square, i between a deer and a mountal MYSTERY Ffree Show Tonight which, on June 30, 1756, in the lion, two of nature-'B most deadly city of Calcutta, India. -
Online Versions of the Goldenrod Handouts Have Color Images
Online versions of the Goldenrod Handouts have color images August 30, 2016 (XXXIII:1) http://csac.buffalo.edu/goldenrodhandouts.html Ernst Lubitsch, TROUBLE IN PARADISE (1932, 83 min) Trouble in Paradise (1932), 83 minutes Directed by Ernst Lubitsch Writing Credits Samson Raphaelson (screenplay), Grover Jones, (adaptation), Aladar Laszlo (play as Laszlo Aladar) Produced Ernst Lubitsch Music W. Franke Harling Cinematography Victor Milner Art Direction Hans Dreier Costume Design Travis Banton…(gowns) Costume and Wardrobe Department Eugene Joseff…costume jeweler (uncredited) Cast Miriam Hopkins…Lily Kay Francis…Madame Mariette Colet Herbert Marshall…Gaston Monescu Charles Ruggles…The Major historical drama. His success in Europe brought him to the shores Edward Everett Horton…François Filiba of America to promote The Loves of Pharaoh (1922) and he C. Aubrey Smith…Adolph J. Giron become acquainted with the thriving US film industry. He soon Robert Greig…Jacques, Mariette's Butler returned to Europe, but came back to the US for good to direct new friend and influential star Mary Pickford in his first Ernst Lubitsch (b. January 29, 1892 in Berlin, Germany—d. American hit, Rosita (1923). The Marriage Circle (1924) began November 30, 1947, age 55, in Hollywood, California) who Lubitsch's unprecedented run of sophisticated films that mirrored Entertainment Weekly voted the 16th Greatest Director of all the American scene (though always relocated to foreign or time, decided at age 16 to leave school and pursue a career on imaginary lands) and all its skewed panorama of the human the stage. He had to compromise with his father and keep the condition. -
THE BOX OFFICE CHECK-UP of 1935
1 to tell the world!* IN 1936 THE BOX OFFICE CHECK-UP of 1935 An annual produced by the combined editorial and statistical facilities of Motion Picture Herald and Motion Picture Daily devoted to the records and ratings of talent in motion pictures of the year. QUIGLEY PUBLISHING COMPANY THE PUBLIC'S MANDATE by MARTIN QUIGLEY 1 The Box Office Check-Up is intended to disclose guidance upon that single question which in the daily operations of the industry over- shadows all others; namely, the relative box office values of types and kinds of pictures and the personnel of production responsible for them. It is the form-sheet of the industry, depending upon past performances for future guidance. Judging what producers, types of pictures and personalities will do in the future must largely depend upon the record. The Box Office Check-Up is the record. Examination of the record this year and every year must inevitably dis- close much information of both arresting interest and also of genuine im- portance to the progress of the motion picture. It proves some conten- tions and disproves others. It is a source of enlightenment, the clarifying rays of which must be depended upon to light the road ahead. ^ Striking is the essential character of those pictures which month in and month out stand at the head of the list of Box Office Cham- pions. Since August, 1934, the following are among the subjects in this classification: "Treasure Island," "The Barretts of Wimpole Street," "Flirta- tion Walk," "David Copperfield," "Roberta," "Love Me Forever," "Curley -
Film History
Indiana University Press http://www.jstor.org/stable/3815615 . Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=iupress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org FilmHistory, Volume 14, pp. 121-135, 2002. Copyright© John Libbey ISSN:0892-2160. Printedin Malaysia The Catholic Vision in Hollywood:Ford, Capra, Borzage and Hitchcock MarfaElena de las CarrerasKuntz This articleexplores the differentways in which fear of being involvedin anythingevil. I alwaystried a Catholicview of the human conditionis re- to avoid it',he acknowledgedto Truffaut.4 flected in the cinema of John Ford, Frank FrankCapra was the most explicitof the four Borzage, FrankCapra and AlfredHitchcock. -
Titolo Anno Imdb ...All the Marbles 01/01/1981 10,000 Bc
TITOLO ANNO IMDB ...ALL THE MARBLES 01/01/1981 10,000 BC 01/01/2008 11TH HOUR 01/03/2008 15 MINUTES 01/01/2001 20,000 YEARS IN SING SING 01/01/1933 2001: A SPACE ODYSSEY 01/01/1968 2010 01/01/1984 3 MEN IN WHITE 01/01/1944 300 01/06/2007 300: RISE OF AN EMPIRE 01/05/2014 36 HOURS 01/01/1965 42 01/07/2013 42ND STREET 01/01/1933 50 MILLION FRENCHMEN 01/01/1931 6 DAY BIKE RIDER 01/01/1934 6,000 ENEMIES 01/01/1939 7 FACES OF DR. LAO 01/01/1964 7 WOMEN 01/01/1966 8 SECONDS 01/01/1994 A BIG HAND FOR THE LITTLE LADY 01/01/1966 A CERTAIN YOUNG MAN 01/01/1928 A CHILD IS BORN 01/01/1940 A CHRISTMAS CAROL 01/01/1938 A CHRISTMAS STORY 01/01/1983 A CINDERELLA STORY 01/02/2005 A CLOCKWORK ORANGE 01/01/2013 A COVENANT WITH DEATH 01/01/1967 A DATE WITH JUDY 01/01/1948 A DAY AT THE RACES 01/01/1937 A DISPATCH FROM REUTER'S 01/01/1940 A DISTANT TRUMPET 01/01/1964 A DOLPHIN TALE 01/03/2012 A DREAM OF KINGS 01/01/1970 A FACE IN THE CROWD 01/01/1957 A FAMILY AFFAIR 01/01/1937 A FAN'S NOTES 01/01/1972 A FEVER IN THE BLOOD 01/01/1961 A FINE MADNESS 01/01/1966 A FREE SOUL 01/01/1931 A FUGITIVE FROM JUSTICE 01/01/1940 A GLOBAL AFFAIR 01/01/1964 A GUY NAMED JOE 01/01/1943 A KISS IN THE DARK 01/01/1949 A LA SOMBRA DEL PUENTE 01/01/1948 A LADY OF CHANCE 01/01/1928 A LADY WITHOUT PASSPORT 01/01/1950 A LADY'S MORALS 01/01/1930 A LETTER FOR EVIE 01/01/1946 A LIFE OF HER OWN 01/01/1950 A LION IS IN THE STREETS 01/01/1953 A LITTLE JOURNEY 01/01/1927 A LITTLE PRINCESS 01/01/1995 A LITTLE ROMANCE 01/01/1979 A LOST LADY 01/01/1934 A MAJORITY OF ONE 01/01/1962 A MAN AND -
Sight & Sound Annual Index 2018
THE INTERNATIONAL FILM MAGAZINE Index to Volume 28 January to December 2018 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX Akhavan, Desiree Anderson, Michael 8:46, 47 Armstrong, Gillian 11:15; 12:95 Ashes and Diamonds 9:36 Ballers series 9:22 Film review titles are also The Miseducation of Cameron Post Anderson, Paul Thomas 2:34; 4:35 Armstrong, Robert 10:88 Ash Is Purest White 6:5; 7:20 Bambach, Josef 11:15 included and are indicated by 10:67(r), background with Phantom Thread 2:69(r); Arnold, Andrea 4:34; 5:26, 27; 9:90 Asia Extreme 1:54-5 Bamber, David 10:31 (r) after the reference; comments from her 10:36-8 3:5, 9, background with Arnold, Jack 5:13 Asp, Anna 2:41 Bamboozled 9:25, 27 (b) after reference indicates Akhenaten 6:87 comments from him 2:20-5 Aronofsky, Darren 1:20; 8:95 aspect ratios Bancroft, Anne 8:47 a book review Akingbade, Ayo 10:19 Anderson, Wes 12:11 Around India with a Movie tv settings 1:111 Banderas, Antonio 3:82, 83 Akomfrah, John 8:13 Isle of Dogs 2:6; 3:9, 21; 4:18, Camera 4:56(r) Assassination Nation 12:59(r) Banerjee, Aarshi 11:21 A Aksu, Akin 12:48 63(r), background 4:22, Arrieta, Adolfo 1:12 Assayas, Olivier 11:19 Bang, Claes 4:38 Aardman Studios Alan Bleasdale Presents.. -
Promotion of Classic Hollywood Film Costume In
PROMOTION OF CLASSIC HOLLYWOOD FILM COSTUME IN 1930S AMERICAN FASHION MAGAZINES by LINDSAY DANIELLE REAVES VIRGINIA S. WIMBERLEY, COMMITTEE CHAIR AMANDA J. THOMPSON XIAO TONG WILLIAM F. BOMAR SHIRLEY P. FOSTER A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Science in the Department of General Human Environmental Sciences in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2013 Copyright Lindsay Danielle Reaves 2013 ALL RIGHTS RESERVED ABSTRACT The world of twenty-first-century fashion evolves into new forms at a more rapid pace when compared with clothing developments of the past. Elements of previous fashion trends are constantly recycled into new clothing to appease the public’s cravings. But, to whom does the public look for fashion inspiration? According to the “trickle-down” theory proposed by Simmel (1904) and Sproles (1985), the lower classes turn to the upper classes to find out what styles are in vogue at the moment. Although emulation of upper-class fashions appears to have been happening for some time, it seems fashion inspiration was “kicked into high gear” with the glamorous effects and global outreach of American Hollywood cinema, beginning in the 1930s. When the American film industry boomed in the first half of the twentieth century, actors became the inspiration for fashion as well. The glamour exuding from the Hollywood films produced during the 1930s inspired and influenced the clothing choices of the American public. Well-known costume designers such as Gilbert Adrian, Edith Head, Travis Banton, Howard Greer, Walter Plunkett, and Orry-Kelly designed costumes and personal clothing for many Hollywood leading ladies. -
This Month On
THIS MONTH ON TCM S THURSDAYS WEEKLY SHOWCASES 15 LADIES’ NIGHT 23 GENDER BENDERS 1 SALUTE TO THE TELLURIDE 7 STARRING SANDRA DEE STAR OF THE MONTH: FILM FESTIVAL Imitation of Life (’59) The Women (’39) Yentl (’83) THE ESSENTIALS KAY FRANCIS Millions Like Us (’43) Gidget (’59) Stage Door (’37) Victor/Victoria (’82) Little Women (’33) Some Like It Hot (’59) Big Deal on Madonna Street (’58) Must-See Classics Steamboat Bill, Jr. (’28) 8 PETER SELLERS’ BirthdaY 2,000 Women (’44) Tootsie (’82) Terms of Endearment (’83) Saturdays at 8:00pm (ET) 5:00pm (PT) Sophie’s Choice (’82) Heavens Above! (’63) The Wedding Night (’35) 24 P AMERICAN POLITICS IN THE Dr. Strangelove, Or How I Learned to Stop 16 STARRING YUL BRYNNER MOVIES: POLITICAL CORRUPTION The Night of the Hunter (’55) The Men Who Made the Movies: Worrying and Love the Bomb (’63) King Vidor (’73) The King and I (’56) The Misfits (‘61) The World of Henry Orient (’64) All the King’s Men (’49) The Men Who Made the Movies: Westworld (’73) The Great McGinty (’40) Witness for the Prosecution (’57) Howard Hawks (’73) Only Two Can Play (’62) The Buccaneer (’58) The Party (’68) The Glass Key (’42) Paper Moon (‘73) The Men Who Made the Movies: Solomon and Sheba (’59) The Boss (’56) Raoul Walsh (’73) 9 CRIME CAPERS Invitation to a Gunfighter (’62) Flamingo Road (’49) The Men Who Made the Movies: TCM UNDERGROUND The Thomas Crown Affair (’68) P Sam Fuller (’02) 17 AMERICAN POLITICS IN THE 25 S KAY FRANCIS The Men Who Made the Movies: Dead Heat on a Merry-Go-Round (’66) MOVIES: PRESIDENTIAL POLITICS