Retrospektive Ästhetik Der Schatten Air Force Von Howard Hawks Mit
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DOCUMENT RESUME RC 021 689 AUTHOR Many Nations
DOCUMENT RESUME ED 424 046 RC 021 689 AUTHOR Frazier, Patrick, Ed. TITLE Many Nations: A Library of Congress Resource Guide for the Study of Indian and Alaska Native Peoples of the United States. INSTITUTION Library of Congress, Washington, DC. ISBN ISBN-0-8444-0904-9 PUB DATE 1996-00-00 NOTE 357p.; Photographs and illustrations may not reproduce adequately. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Books (010) Guides Non-Classroom (055) -- Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS *Alaska Natives; American Indian Culture; *American Indian History; American Indian Languages; *American Indian Studies; *American Indians; Annotated Bibliographies; Federal Indian Relationship; *Library Collections; *Resource Materials; Tribes; United States History IDENTIFIERS *Library of Congress ABSTRACT The Library of Congress has a wealth of information on North American Indian people but does not have a separate collection or section devoted to them. The nature of the Librarv's broad subject divisions, variety of formats, and methods of acquisition have dispersed relevant material among a number of divisions. This guide aims to help the researcher to encounter Indian people through the Library's collections and to enhance the Library staff's own ability to assist with that encounter. The guide is arranged by collections or divisions within the Library and focuses on American Indian and Alaska Native peoples within the United States. Each -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian -
RUDOLPH VALENTINO January 1971
-,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-. -
The Motion Picture Director (1925-1926)
MOTION PICTURE ^ / rrL£ Annie Beginning a Neiv Series WHY HOLLYWOOD? By EDWIN CAREWE Also Two Notable Serials THUNDERING SILENCE THE NIGHT BRIDE By H. H. Van Loan By Frederic Chapin At The Director’s Service! A new, fast-moving, Portable Unit of tre- mendous power — com- pletely self-contained — for broad SOUND- CASTING, makes its bid for Movie Fame in this issue of The Director. Now you can sway that “seething mob” with absolute comfort to your- self and your staff. Terms of rental on application. TUcker 3148 ? MOTION PICTURE Volume Two September Number Three 19 2 5 Dedicated to the Creation of a Better Understanding Between Those Who Make and Those Who See Motion Pictures OLKS, meet the “new” by and for the people of that Director; new in dress industry, and yet possessing F neither the limitations of the and in its increased num- CONTENTS ber of pages, and new in its strictly class or trade publica- added features of interest and Page tion, nor the diverified appeal entertainment value, but, in of the so-called “fan” maga- IN THE DIRECTOR’S CHAIR 5 spirit of helpfulness and sincere zines. George L. Sargent concern for the best interests Insofar as it may be possible 8 of the industry of which it is A TALE OF TEMPERAMENT The Director will endeavor a part, the same Director you George Landy to steer a middle course between these two have known in the past. CAMERA STUDIES OF SCREEN groups and cordially In the development of the solicits the co-operation of all 9 PERSONALITIES are “new” Director it is our pur- who actively concerned with pose, as we enter upon the WHY HOLLYWOOD? (A Series) 17 the making of motion pictures. -
Lillian Gish
Lillian Gish Lived: October 14, 1893 - February 27, 1993 Worked as: director, film actress, screenwriter Worked In: United States by Mark Garrett Cooper In 1920, Lillian Gish both delivered a landmark performance in D.W. Griffith’s Way Down East and directed her sister Dorothy in Remodelling Her Husband. This was her sole director credit in a career as a screen actor that began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987. Personal correspondence examined by biographer Charles Affron shows that Gish lobbied Griffith for the opportunity to direct and approached the task with enthusiasm. In 1920, in Motion Picture Magazine, however, Gish offered the following assessment of her experience: “There are people born to rule and there are people born to be subservient. I am of the latter order. I just love to be subservient, to be told what to do” (102). One might imagine that she discovered a merely personal kink. In a Photoplay interview that same year, however, she extended her opinion to encompass all women and in doing so slighted Lois Weber, one of Hollywood’s most productive directors. “I am not strong enough” to direct, Gish told Photoplay, “I doubt if any woman is. I understand now why Lois Weber was always ill after a picture” (29). What should historical criticism do with such evidence? By far the most common approach has been to argue that Gish did not really mean what the press quotes her as saying. Alley Acker, for instance, urges us not to be fooled by Gish’s “Victorian modesty” and goes on to provide evidence of her authority on the set (62). -
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative -
Mary Pickford
Mary Pickford Also Known As: Mary Pickford Rogers, Gladys Smith, Gladys Louise Smith, Gladys Mary Smith Lived: April 8, 1892 - May 29, 1979 Worked as: company director, distributor, film actress, film company founding partner, producer, screenwriter, theatre actress Worked In: United States by Christel Schmidt Mary Pickford was born Gladys Smith in 1892 in Toronto, Canada. After her father was killed in an accident, Gladys became the family’s main breadwinner by performing in the theatre. She was seven years old. In fact, the stage became a family venture, as her younger siblings Lottie and Jack and even her mother took up the trade. But the drive and determination to be a star belonged solely to Gladys. In 1907, her ambition would take her to Broadway and famed producer-director David Belasco, who changed her name to Mary Pickford and gave her a part in “The Warrens of Virginia.” In 1909, when Pickford was between stage engagements, she approached director D. W. Griffith at the Biograph Company in New York and asked for work in moving pictures. She had no intention of working permanently in the new medium, but hoped the income would tide her over before she went back to Belasco and the stage. Pickford was intrigued with film acting, and before long she began to enjoy “posing” for motion pictures. She stayed with the Biograph Company, working as both an actress and writer from 1909 to 1911, leaving for a brief stint with the Independent Motion Picture Company (IMP), and later with Majestic Pictures Corporation. She returned to Griffith at Biograph in early 1912, finishing out the year with him. -
The American Dime Museum: Bodily Spectacle and Social Midways in Turn-Of-The-Century American Literature and Culture
University of Kentucky UKnowledge Theses and Dissertations--English English 2015 The American Dime Museum: Bodily Spectacle and Social Midways in Turn-of-the-Century American Literature and Culture James C. Fairfield University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Fairfield, James C., "The American Dime Museum: Bodily Spectacle and Social Midways in Turn-of-the- Century American Literature and Culture" (2015). Theses and Dissertations--English. 50. https://uknowledge.uky.edu/english_etds/50 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Catalogo Giornate Del Cinema Muto 2015
ASSOCIAZIONE CULTURALE Filminstitut – DIF); Stefan Droessler (Filmmuseum “LE GIORNATE DEL CINEMA MUTO” München); Jeanpaul Goergen; Franz Werner Halft; Köln Film & Theaterwiss; Ulrich Lehner; Soci fondatori Martin Loiperdinger; Rainer Lotz; Anke Wilkening Paolo Cherchi Usai, Lorenzo Codelli, (Muranu Stiftung); Katja & Dieter Neumayer; Piero Colussi, Andrea Crozzoli, Luciano De Giusti, Christian Zwarg. Livio Jacob, Carlo Montanaro, Mario Quargnolo†, Piera Patat, Davide Turconi† Giappone: Ichiro Kataoka; Hiroshi Komatsu; Hisashi Okajma, Akira Tochigi (National Film Presidente Center, National Museum of Modern Art, Tokyo); Livio Jacob Johan Nordström. Direttore David Robinson Iran: Mohammad Zare, Shalale Kheiri. Italia: Aldo Bernardini; Elena Ferraguti; Davide Pozzi, Elena Tammaccaro (Cineteca di Bologna / Ringraziamo per la collaborazione al programma: L’Immagine Ritrovata); Matteo Pavese (Cineteca Argentina: Paula Félix-Didier, Andrés Levinson Italiana); Cineteca Nazionale; Claudia Gianetto, (Museo del Cine Pablo C. Ducrós Hicken); Gianna Chiapello, Stella Dagna (Museo Nazionale Fernando Martín Peña (Filmoteca Buenos Aires); del Cinema); Sergio Mattiassich Germani; Paolo Laboratorio Cinecolor. Emilio Persiani. Austria: Nikolaus Wostry (Filmarchiv Austria); Messico: Guadalupe Ferrer (Filmoteca de la Paolo Caneppele, Oliver Hanley, Alexander UNAM); Cineteca Nacional; Aurelio de los Reyes Horwath (Österreichisches Filmmuseum). García-Rojas; Paolo Tosini. Belgio: Cinémathèque Royale de Belgique/ Norvegia: Tina Anckarman (Nasjonalbiblioteket); -
Photoplay Magazine—Advertising Section 3
c ‘ZJheWorld’s Leading, oJYLoving (Picture Q^Iagazine N. S. E. February 2,5 The greatest Issue ofa Screen £Magazine ever Published POLA NEGRI Beginning in This Issuer— VALENTINO’S LIFE STORY ! - Jn this rarfiim ^Romance jParisienne Ah, Madame, how alluring a fragrance is here So, Mademoiselle, permit always that this Par —in this odeur Parisien, in this Parfum Djer-Kiss. fum Djer-Kiss, this subtle odeur fransaise grace Naturellement For does not the great parfumeur your dressing table. And this also, Madame, is Kerkoff create Djer-Kiss in France, in Paris alone? so important : For a complete harmony in your toilette employ all the Djer-Kiss specialites. From Kerkoff himself to the American ladies comes Djer-Kiss Perfume endowed quite magi- Then each necessity of your dressing hour will cally with the belle romance of France, with the breathe the same French fragrance — the fra- i dash and elan of Paris. grance, indeed, of Parfum Djer-Kiss. it EXTRACT • FACE POWDERS • TALC TOILET WATER • VEGETALE • SACHET • ROUGE UP ROUGE • FACE CREAMS • SOAP How French! How fash- ionable! How convenient! This charming little Van- ette of Djer-Kiss — Fash- ion’s new vogue. Now may Madame carry always in her vanity bag this Vanette of her favorite Parfum Djer-Kiss. The price? Ah, Madame, so l r very moderate! Do ask, then, at your favorite shop for this Vanette of Djer- Kiss. J|l — Photoplay Magazine—Advertising Section 3 We Pay $1000 and Royalties to men and women anywhere, of any age, who can learn to write photoplays. A novel, free test, made at home, will tell you if YOU can learn as Thacher Elizabeth Mrs. -
MYRNA LOY FILMOGRAPHY-Online Expanded Version 1
MYRNA LOY FILMOGRAPHY-Online Expanded Version 1 Compiled by Karie Bible and Emily Leider 1) PRETTY LADIES September 6, 1925; six reels, silent, b&w. Directed by Monta Bell; produced and distributed by Metro-Goldwyn; adapted by Alice D. G. Miller; photography, Ira H. Morgan. Cast: ZaSu Pitts (Maggie Keenan), Tom Moore (Al Cassidy), Ann Pennington (Herself) Lilyan Tashman (Selma Larson), Bernard Randall (Aaron Savage), Conrad Nagel (Maggie's dream lover), Norma Shearer (Frances White), Lucille Le Sueur (Bobby), Roy D'Arcy (Paul Thompson), Lew Harvey (Will Rogers), Jimmie Quinn (Eddie Cantor); ML as uncredited chorus girl. Source: "Pretty Ladies" by Adela Rogers St. Johns in Cosmopolitan Magazine. 2) SATAN IN SABLES November 14, 1925; eight reels, silent, b&w. Directed by James Flood; assistant director, Gordon Hollingshead; produced and distributed by Warner Bros. Pictures; scenario and adaptation by Bradley King; photography, John Mescall; additional photography Bert Shipman. Cast: Lowell Sherman (Michael Lyev Yervedoff), John Harron (Paul Yervedoff), Pauline Garon (Colette Breton), Gertrude Astor (Dolores Sierra), Frank Butler (Victor), Francis McDonald (Émile); ML was inserted into a scene with Lowell Sherman. 1 MYRNA LOY FILMOGRAPHY-Online Expanded Version 2 3) SPORTING LIFE November 29, 1925; seven reels, silent, b&w. Directed by Maurice Tourneur; produced by Carl Laemmle/Universal Jewel; distributed by Universal Pictures; adapted by Curtis Benton; photography, Arthur Todd; art direction, Leo E. Kuter. Cast: Bert Lytell (Lord Woodstock), Marian Nixon (Norah Cavanaugh), Paulette Duval (Olive Carteret), Cyril Chadwick (Phillips), Charles Delaney (Joe Lee), George Siegmann (Dan Crippen), Oliver Eckhardt (Cavanaugh), Ted "Kid" Lewis (Boxer); ML in un-credited role as chorus girl.