On the Trail of the Motion Picture
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ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Camera (1920-1922)
7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
Associated First National Franchise (1921-1922)
NOVEMBER 15, 1921 THE VOLUME 1. No. 21 ASSOCIATED FIRST NATIONAL FRANCHISE Champion police A You’ll See Him dog, a prize winner in H. 0. Davis’ that will fill your 44 THE SILENT CALL” theatre. See page 8. An Extraordinary Picture $10 REWARD FOR ANY LIE OR MISSTATEMENT FOUND IN FRANCHISE Franchise Has a Guaranteed Circulation in Excess of 10,000 Theatres This Sounds Like a Fairy Tale But It’s The Gospel Truth! A certain amateur film enthusiast, who as yet prefers to remain unknown, decided to take a flier in the picture bus- iness on his own account. He is an ardent movie fan, he thought he knew how pictures should be made and was willing to back his judgment at no matter what cost. By an arrangement with us he engaged Marshall Neilan to direct the picture between his regular First National releases. As money didn't matter, he engaged John Barrymore to play the leading role. Neilan had a free hand on the pro- duction. He assembled a fine cast, including Wesley Barry, Anna Q. Nilsson, Coleen Moore, J. Barney Sherry and other well known film players. The vehicle selected was Albert Payson Terhune's story, "THE LOTUS EATER," the tale of a young man of twenty-five who saw a woman for the first time when he stepped off the palatial yacht upon which his millionaire father's will had held him prisoner. In our opinion the picture is one of the most dramatic, most beautiful, and altogether most perfect productions yet made. Associated First National Pictures, Inc. -
Anita Stewart
Anita Stewart Also Known As: Anna Marie Stewart, Anna Steward, Mrs. Rudolph Cameron, Mrs. George Converse Lived: February 7, 1895 - May 4, 1961 Worked as: company director, composer, film actress, novelist, producer, singer Worked In: United States by Hugh Neely Anita Stewart began her career as an actress at the Vitagraph Company in 1911, and rose to become one of the most popular stars of the teens. In 1918 she started Anita Stewart Productions, in partnership with Louis B. Mayer, and began to produce her own feature films for First National Exhibitors Circuit. Anita Stewart Productions produced seventeen feature films between 1918 and 1922. After concluding her association with Mayer, Stewart accepted an offer from William Randolph Hearst to appear in Cosmopolitan Productions. She continued to make films with Fox, Columbia, and lesser studios through the end of the silent era, appearing in her last feature in 1938. Born Anna Marie Stewart in Brooklyn in 1895, she was the middle of three siblings. Her older sister Lucille Lee and younger brother George also became film actors. Lucille Lee Stewart was the first to work in films, starting with the Biograph Company in 1910, and shortly thereafter moving to the Vitagraph Company, where she met and married director Ralph Ince, younger brother of Thomas Ince. Anna Marie Stewart was a high school student who had done a little modeling when Ralph Ince telephoned to say he needed some extra juveniles for a film. After her start in early 1911, sixteen-year-old Anna quickly became a Vitagraph regular, appearing in vehicles that featured the “Vitagraph Girl,” lead actress Florence Turner. -
The Silent Films of 1923 Shown at the Empress Cinema, Sutton Coldfield
THE SILENT FILMS OF 1923 SHOWN AT THE EMPRESS CINEMA SUTTON COLDFIELD By Don McCollom Extract from the Sutton Coldfield News of January 1923: EMPRESS CINEMA & CAFÉ: CIVIC OPENING OF THE CINEMA “The opening of the Empress Cinema at Sutton Coldfield took place on Monday afternoon the 1st January 1923 in the presence of a very large gathering. The Empress cinema and Cafe is situated at the entrance to the Lower Parade, and stands on the site of the old and noted Ashby House, a relic of bygone days, and is an excellent representation of how modern construction with efficient and economical design may overcome difficulties that at first appear insurmountable, and so manipulate them to form successful features in the building. The theatre, perfect throughout, is absolutely fireproof, the quality of the brickwork, steel and reinforced concrete being so combined as to ensure this most necessary characteristic. The design throughout being in the Grecian style gives a very pleasant result. The use of white Hollington stone in its construction in conjunction with the purple brick facing on the front elevation gives a most distinguished effect, as does the wide and imposing entrance which is supported on either side with granite columns covered by a large Ornamental Canopy. “The Ornamental Canopy gives the whole building not only an attractive but a magnificent appearance. The arrangements internally are such as will give convenience and comfort to the patrons, special care being bestowed on the lines of projection to the screen so as to avoid as much as possible eye strain. As no seat is less than 24 feet from the screen a clear view is obtainable by everyone. -
The Image of the Journalist in Silent Film, Part One: 1890 to 1919
Journalist in Silent Film 35 The Image of the Journalist in Silent Film, 1890 to 1929: Part One 1890 to 1919 Joe Saltzman Professor of Journalism Director of the Image of the Journalist in Popular Culture (IJPC) A Project of the Norman Lear Center Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] with Liz Mitchell Senior Research Associate Image of the Journalist in Popular Culture (IJPC) Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] Introduction This is the first installment in the landmark study of “The Image of the Journalist in Silent Film, 1890 to 1929.” It covers 1,948 films from 1890 to 1919. Part Two will cover the years from 1920 to the beginning of recorded sound in 1929. This is the first comprehensive study of the beginning of cinema’s earliest depictions of the journalist, mostly newspaper reporters, editors, and publishers. Newspaper fiction flourished at a time when journalism “was a revolutionary force, tearing up traditions, redefining public morality, and lending voice and encouragement to the disenfranchised. It reflected currents sweeping through every phase of American life. The skyrocketing circulations, the manic search for exclusive news, the sensational headlines, and the concentration of newspaper ownership were signs of an America changing from a rural society to an urban and industrial one. Since journalism so clearly mirrored and so loudly supported the new order, it became the preeminent symbol for the mechanization, standardization, democratization, and vulgarization of culture.”1 Historian Howard Good points out that the 1890s “represented a watershed not only in American journalism but also in American history. -
The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928. David Morton University of Central Florida Part of the Public History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Morton, David, "City of Superb Democracy: The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928." (2014). Electronic Theses and Dissertations, 2004-2019. 4638. https://stars.library.ucf.edu/etd/4638 “CITY OF SUPERB DEMOCRACY:” THE EMERGENCE OF BROOKLYN’S CULTURAL IDENTITY DURING CINEMA’S SILENT ERA, 1893-1928 by DAVID D. MORTON B.A. East Stroudsburg University, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 Major Professor: Amy Foster © 2014 David Morton ii ABSTRACT This study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan’s glamorous cultural districts, Brooklyn’s cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs. -
ASC Founders -DRAFT
The 15 Founders of the American Society of Cinematographers Biographies DRAFT 8/31/2018 By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison cameramen Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles-based society first headed by Universal cameraman Harry H. Harris. From the beginning, the two clubs had a loose affiliation and eventually the west coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice-president; Homer A. Scott, second vice-president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919.