Brownsville 81 and B Valley B Theaters

Total Page:16

File Type:pdf, Size:1020Kb

Brownsville 81 and B Valley B Theaters Brownsville 81 and B Valley B Theaters * 1 I One Man Quartet In Good Ne ver STAGE HOME TO Film Experiment Business Can one man be a whole quar- tet? Has Left Valley, Says MORRIS FAMILY Lawrence Tibbett. celebrated baritone, who is co-starred with Former Kiwanis Head Grace Moore in “New Moon,” now Five Members Have All playing at the Mission Theatre, ac- complished such a feat during film- (By Staff Correspondent. > been invited to the meetin^to hear Been On Stage ing of the new Metro-Ooldwyn- HARLINGEN, Feb 7.- Good their former chief. Miiyer For Year* production. business has never left the Valley; -Texas has not bom* the brunt As an experiment he and sang no spot on the entire economic cf depresalon and this spot (the recorded tenor, bass and first and map is as well off as this section. Valley) has been peculiarly bless- second baritone parts of a The stage Is home to the entire j song, Thus spoke O. Sum Cummings of ed.'* said Mr. Cummings. He de- then superimposed them and made of Chester Morris, featured Dallas, former president of Kiwwns clared that the Valley should be family a new record which turned out to International, before the Rotan concerned with fair dealing with player in Roland West's "The Bat be a perfect each voice quartet, club at the Christian church Fri- all those who come into this sec- for United Artists, which his own. Tibbett's Whispers," being Only day. A number of Kiwanians had tion and with preventing boom comes to the Capitol theater today. enormous range made such a feat conditions from coming about. He possible. His father, William Morris, has reported himself pleased that a Both Tibbett and Miss Moore Better Business Bureau had been been a of ir. the figure prominence are given an opportunity to sing a Ca/endar organised. theatrical world for years and has number of j beautiful songs in “New Movi£ The speaker declared that he no Intention of moth- retiring. His Moon,” which is a talkie version remembered the Florida boom well Etta Hawkins a well of er, Morris, the noted New York stage suc- Brownsville— because It cost him money when known with the leading lady Daniel cess. The story, laid in Turkestan, Capitol— The Bat Whispers” with deflation came and that he hoped Prohman company. presents an intriguing tale of ro- Chester Morris. no such period would strike the A ter. Morris, and a mance and adventure in a Willy which Queen—“Once a Sinner” with Valley. yarn brother. Adrian, are play- flirting Russian princess and a Dorothy Mackaill Mr. Cummings said that lie won id uiy important stage roles; and an- fiery lieutenant play central lie did fig- DHtmann—Del Mismo Barra” be derelict in his duty if J other brother. Gordon, Is a play- ures. ; not about the Val- " with Mona Maris. say somethin* Under the direction of Jack Con- Spanish wright. dialogue. ley. He recalled his trip of last Actor At Fourteen way. every effort was made to April when he was still president A seen* from Roland West s The create . Harlingen— Chester, hunseif. became an actor Bat Whispers" at the Capitol, dramatic and ptetorlally 1 of Kiwanis International and ad- tomorrow and effective Arcadia— Paid” with Joan Craw- at the age of fourteen. After a I Brownsville, Tuesday. scenes, some of them re- dressed a Valley-wide meeting of ford. brilliant success in New York he! quiring use of nearly 1,000 extras Kiwanis. He said he was impressed to a came to Hollywood at the request; Mona Maris and Rene Cardona in “Del Mismo Barro" or “Common provide spectacular back- McAllen— at that time with the spirit of of Roland West to play the lead ini Clay." Mexican talkie version of that well known play, now showing ground. Palace theater—“One Heavenly hojiefulness and signs of progres- An ‘■Alibi.’’ His success was sensational at the Dittman theater. imposing supporting cast Is Night” with Ronald Colman. siveness to be found only in new headed Mission- and he repeated his triumphs in a by Adolphe Menjou. Ro- countries with a bright future. land Ous Theater — number of pictures, including "The Young, Shy and Emilv Mission “The New All of Mr. Cummings* remarks Big House and "Divorce." Fitzroy. Moon’ with Lawrence Tibbett prefaced a talk on life insurance. Grace The cast of "The Bat Whispers" and Moore. One of the points brought out In includes Una Merkel. Gustav Von Baymondville— the talk was the fact that the Ramon Theater — life Seyffertitz, Grayce Hampton, Ben Frank Robertson To ‘Lightnin*’ present legal reserve Insurance with Will the income of American Bard; William Bakeweli, Spencer Rogers. equals San Benito— for 15 months. Charters. Charles Dow Clark. Address Nat’l Meet people Rivoli— No Limit” with Clara A Of 64.000.000 lives (esti- Maude Eburne and S. E. Jennings »8y Staff Correspondent ! total Bow and Norman Foster. mated) are insured for Wanted To Leave SAN BENITO, Feb. 7— Frank $120,753,521 Weslaco— values. Value of these is Roland West, producer-director.! Robertson, manager of the local policies Rite— The Man Who Cumr $103,146,440,473. He said that dou- had a difficult time persuading water district and secretary of the Back” with Charles Farrell and ble this amount would be repre- Chester Morn* to remain in Holly- associated districts, will address the Janet Gayuor. sented in policies within ten years. wood. After "Alibi,” a great sue-1 National Drainage, Conservation and cess. Morris still wanted to return Flood Control Congress In ——— Dallas Feb. 18 to the New York stage. West con- on Reclamation of the vinced Morris that if he would Lower Rio Grande. Texas." He is a on the sub- sign a contract he would be one of preparing paper now. the foremost actors on the screen ject “Rectification of the Rio within a year. Morris signed and Grande and its Consequences,” will be the the prediction came true. West s subject of a L. H. latest production for United Artists. paper by Lawson of El Paso, International water "The Bat Whispers," features Mor- commissioner and international ris. and the latter is t permanent boundary commissioner. The con- resident of Hollywood. The picture Harry Green. Clara Bow. Norman Poster in a scene from the Para- vention will last three days, Feb is now at the mount -No at the showing Capitol picture. Limit,” showing RivoU theatre, San Benito, 18, 19 and 20, theater. 8unday. Monday and Tuesday. -- «........— Clara Bow Has New man who sent her to prison. Even marrying his young son to humble Mission Colleague In Film the man for the wrong done her. Clara Bow has a new leading man The supporting cast to Miss Craw- THEATRE is Norman FJpster and he is one ford in ‘Paid" includes Robert of the most of Armstrong and Marie Prevost in All promising the young- Talking The >Heer American stage-stars-tumed- featured roles. talkie. in the opinion of theatrical Greatest "The Five Texas Rockets” who will in at the • appear person Capitol — critics. | of All theatre for a two-day The Sun. Mon. Poster plays the ro!e of the crook engagement starting Wednesday. quintet from left to right are Misses Luke. Ruth Rawls. Irma who falls in love with Clara, an Sally Wilkinson, Mystery Minnie Merle Massie and Stanford. come LAWRENCE TIBBETT usherette in a large metropolitan Margaret They to the Capi- Thrillers! tol after a successful engagement on the Publi* and R .K. O. circuits RAMON U and GRACE MOORE theater. They encounter many ex- the citing and romantic adventures— and at Bagdad Supper club in Dallas Raymond ville :,i — — » You'll be I IN pop-eyed with exclte- and in the end Foster forswears a >*wnt I It was the revenge M KIMCNCKw as you watch the greatest life of crime to his sweet- JOUtyJ please TODAY TOMORROW To ('1 all underworld geniuses on heart. Old planned! marry Question Asked, Mary Turner had the supreme exploit of his dar- Foster s if the knowledge theater is the son of the man ing career! well-founded and it carries Answered In Play through WILL } who ruined her life! w the theories as well as the practical Who is the richest woman in { i A surging drama application of the drama. Hollywood today? This is an often With; ROGERS of love tnd retribu- Harry Hamilton of the asked and much mooted question.1 Montgomery, tion starring < Ala > Little Theater; and Austin The distinction has often been 1-J Strong, author of "Seventh Heaven": claimed for Mary Pickford and the I: JOAN of have on —the star- Foster has collaborated on the friends Ruth Roland “LIGHTNIN” writing of four plays, two of which1 many occasions appropriated the CRAWFORD studded ro- have been honor for her. but were ever accepted for future pro- they America’s Greatest Hum- mance from duction a to stage a check writing derby by leading Broadway firm. orist. and the Man of the Foster the screen's fair sex. one lit- ” the great was playing on Broadwav among Hour! It’s Incomparable in "June Moon” tle who would be right up in when he was first lady Entertainment! “PAID Broadway placed under contract by Paramount front at the finish is Dorothy Mack- writh hit! for the part of Tobv McLean in aill, who enacts the leading role in ROBERT mmm ARMSTRONG "Young Man of Manhattan." a pic- the Fox movietone production. WITH# MARIE PREVOST ture in which he won immediate! ■'Once a Sinner,” which comes to I # favor Following completion of this the Queen theater for a three day — Now — MORRIS part he left on a tour of the world, run starting Sunday.
Recommended publications
  • Mary Roberts Rinehart - the Bat Online
    glfcs (Download free ebook) Mary Roberts Rinehart - The Bat Online [glfcs.ebook] Mary Roberts Rinehart - The Bat Pdf Free Mary Roberts Rinehart ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #999974 in Books 2016-11-10Original language:English 11.00 x .23 x 8.50l, #File Name: 154032224698 pages | File size: 66.Mb Mary Roberts Rinehart : Mary Roberts Rinehart - The Bat before purchasing it in order to gage whether or not it would be worth my time, and all praised Mary Roberts Rinehart - The Bat: 3 of 3 people found the following review helpful. Batman is BornBy Whistlers MomThe prolific Mary Roberts Rinehart published her first novel in 1906 and several (including this one) are now in the public domain. Ironically, I'd never bothered to down-load it because I had it confused with THE HAUNTED LADY, a later novel in which a bat features prominently. When I realized that it was one I had never read, I immediately remedied that situation.To be blunt, it is the weakest Rinehart book I've read and I think the explanation for that lies in its odd history. In addition to being a popular novelist, Rinehart wrote plays. In 1920, she wrote a play called "The Bat." She must have gotten bogged down because successful playwright and "play doctor" Avery Hopwood was called in to complete the third act. I'd never heard of Hopwood although he was a big noise on Broadway during that time. In 1920, he had four plays running simultaneously on Broadway, a record that's likely to stand for all time.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • The Godless Girl 1928
    Cecil B. De Mille’s THE GODLESS GIRL 1928 CAST Judy: Lina Basquette Mame: Marie Prevost Bob: George Duryea The Head Guard: Noah Beery The "Goat": Eddie Quillan The Victim: Mary Jane Irving Matrons: Hedwig Reicher Kate Price CREW Production: Cecil B. De Mille Titles: Beulah Marie Dix Jeanie Macpherson Cinematography: Peverell Marley Film Editing: Anne Bauchens Art Direction: Mitchell Leisen Costume Design: Adrian Assistant Directors: Curt Rehfeld Frank Urson Art Department: Roy Burns Additional Photographers: Franklin McBride Fred Westerberg Black and white print with tinted sequence. Restored from De Mille’s personal nitrate print by George Eastman House. Duration: 118 minutes plus interval Projection Speed: 24fps Aperture: Full Music: (32 Players) Carl Davis LIVE CINEMA THE GODLESS GIRL Few filmmakers have been better known to the public than Cecil B De Mille. One of the founders of Hollywood, he remained a leader of the industry for more than forty years. It was his name, even more than those of his stars, which guaranteed the public would flock to each new offering and made him the most successful di- rector in Hollywood history. De Mille’s name conjures images of Moses parting the Red Sea or Samson top- pling a temple. Yet there was much more to De Mille than these familiar biblical epics. Of the 70 films he directed, the majority were made before the coming of sound and they reveal a vastly different filmmaker. Confidently developing alongside his young art, he is willing to tackle social problems, examine sexual re- lations with a modern eye and never scared to reveal the darker aspects of hu- man nature.
    [Show full text]
  • D.W. Griffith, the Keystone Kops and the Canadian Connection by Wyndham Wise
    D.W. Griffith, the Keystone Kops and the Canadian Connection By Wyndham Wise In his fulsome introduction in Maclean's as' (September 2003) to an excerpt from Kay Armatage's revisionist biography of the Victoria—born Nell Shipman, The Girl from God's Country: Nell Shipman and the Silent Cinema, crit- ic Brian D. Johnson claimed Shipman to be "Canada's first movie star." Johnson was not entirely accurate, however. Shipman was only a bit player in the history of Hollywood, never more than a starlet. Ten years prior to her appearence in Back to God's Country, which was released in 1919, no less than three actresses could lay claim to the title of the first Canadian movie star, and, remark- ably, they all appeared in films by D.W. Griffith, the legendary father of cinema, at the Biograph studios between 1908 and 1912. Biograph is the abbreviated name commonly used for the American Mutoscope and Biograph Company. It developed into one of the most active forces in the early years of American cinema and its studios at 11 East 14th Street in New York City were the spawn- ing ground for such formative talents as Griffith's stock company of players at Biograph included three Canadian leading ladies: Florence Lawrence, Florence LaBadie and Mary Pickford. Griffith and Mack Sennett. An itinerant actor and fledgling playwright, Griffith joined Biograph in early 1908, first as a writer and then as an actor. Later that same year, he directed his first film, The Adventures of Dollie. Over the next 18 months (from June 1908 to December 1909), Griffith personally directed all of the Biograph pictures, an incredible 200 TAKE ONE 37 Florence Lawrence Picture Company of America at the end of 1909.
    [Show full text]
  • The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
    Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Lilms Perisllecl
    Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re­ not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou­ O 1928, only a small portion survive . sands, relatively few projection prints were re­ While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos­ earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi­ and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas­ exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom­ more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard .
    [Show full text]
  • Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
    VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her).
    [Show full text]
  • Reboots’ at the Box Office
    http://www.dailycomet.com/article/20120502/WIRE/120509895... This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears above any article. Order a reprint of this article now. Settle in for a summer of ‘reboots’ at the box office By BILL GOODYKOONTZ Gannett Chief Film Critic Published: Wednesday, May 2, 2012 at 1:37 p.m. Among the many big-budget blockbusters on tap for this summer is “The Amazing Spider-Man,” which in movie jargon is undergoing what is referred to as a “reboot.” Reboot: A different take on a well-known idea. That’s not surprising. Superheroes are a summer staple, and we’ve already seen a gaggle of them gathered in “The Avengers” so far. And of all genres, the superhero film is best suited for rebooting and remaking. So, fair enough. Except ... wait a second. Didn’t Spider-Man just get a reboot 10 years ago? Yes, yes he did, in Sam Raimi’s film, which was followed by two sequels. So now he needs another? What’s the shelf life of a character, anyway? And how often do we need these things? “Need” isn’t the operative word here. Studios continue to give us what they think we want, and that’s what we get. And while a steady stream of remakes and reboots may grow tiresome and suggest a Hollywood bereft of ideas, one can look no further than Christopher Nolan’s “Batman” films to see that reboots can bear worthwhile fruit.
    [Show full text]
  • WIDE SCREEN MOVIES CORRECTIONS - Rev
    WIDE SCREEN MOVIES CORRECTIONS - Rev. 2.0 - Revised December, 2004. © Copyright 1994-2004, Daniel J. Sherlock. All Rights Reserved. This document may not be published in whole or in part or included in another copyrighted work without the express written permission of the author. Permission is hereby given to freely copy and distribute this document electronically via computer media, computer bulletin boards and on-line services provided the content is not altered other than changes in formatting or data compression. Any comments or corrections individuals wish to make to this document should be made as a separate document rather than by altering this document. All trademarks belong to their respective companies. ========== COMMENTS FOR VERSION 1.0 (PUBLISHED APRIL, 1994): The following is a list of corrections and addenda to the book Wide Screen Movies by Robert E. Carr and R.M. Hayes, published in 1988 by McFarland & Company, Inc., Jefferson, NC and London; ISBN 0-89950-242-3. This document may be more understandable if you reference the book, but it is written so that you can read it by itself and get the general idea. This document was written at the request of several individuals to document the problems I found in the book. I am not in the habit of marking up books like I had done with this particular book, but the number of errors I found was overwhelming. The corrections are referenced with the appropriate page number and paragraph in the book. I have primarily limited my comments to the state of the art as it was when the book was published in 1988.
    [Show full text]
  • Edwards and Monnet 2Nd Pages.Indd
    6 “I’ll Be Whatever Gotham Needs Me to Be” Batman, the Gothic and Popular Culture Agnieszka Soltysik Monnet Batman fi rst appeared in 1939, close on the heels of the recently created and hugely successful Superman. The young comic book industry, just emerg- ing as a separate medium from the newspaper comic strip, and hitherto mainly defi ned by men in suits, now demanded more visually appealing (i.e. costumed) characters. Batman was born as a darker and more com- plex variation on the red-caped superhero: he is Superman’s Gothic dou- ble.1 Although many superheroes were created in the 1940s and since then, Batman has remained the darkest and most problematic, not least because his powers come not from a magical source but from the brooding inten- sity of a childhood trauma. Over seventy years later, Batman has grown to become bigger than ever, eclipsing even Superman in recent decades. Why has this been the case? And how did this happen? In addressing these ques- tions, I want to suggest that the main reason for the success of Batman in the twenty-fi rst century—a multi-billion dollar Batman industry—has been Christopher Nolan’s return to the darker roots of the Batman story. Like any enduring Gothic fi gure, Batman’s regenerative cultural power depends on his ambivalence, his ethical complexity and moral ambiguity. On a formal level, this ambivalence plays itself out in the tension between Bat- man’s camp aesthetics and the Gothic characteristics of the fi gure; that is, between the campy smirk of the “Caped Crusader” and the furrowed brow of the brooding “Dark Knight.” Historically, whenever Batman is camped to its limit, the Gothic creeps in, returning the character to a darker and more complicated fi gure within the narrative.
    [Show full text]
  • Issssfi Ifisstsl.I
    AMUSEMENTS. THE SUNDAY STAR. WASHINGTON, D. C., JUNE 7. 1931—PART FOUR. ’ AMUSEMENTS. 3 Photoplay Attractions PHOTOPLAYS AT WASHINGTON THEATERS THIS WEEK The SMovitig Ticture oAlbum By Robert E. Sherwood. Breese, stage celeb- TURK Sunday Monday Tuesday Wednesday Thursday Friday Saturday and Edmund both - COLUMBlA—'"lndiscreet.” Young Young rites of other days. The picture was • < Loretta Loretta Loretta Young Tallulah Bankhead In JackleCooper and SWANSON'S latest pic- •“ , in , til Chatterton tn Ruth Chatterton In "TarnUhtd LadT.” Robert Coogan In first glance, Hollywood does ! progressive thought directed by R. William Neill. niliunoeauviAmhassador , “Big “Big Ruth Vltaphone i are the leaders of ture for United Artists, “Indis- "Big Business Business Business "Unfaithful.” “Unfaithful. abort ‘•Skippy.” changed Other are * Rd, Girl.” Girl." subject. not appear to have l in the film world. one can feature features Radio Pictures’ 18th Columbia Girl." Serial. Not of them creet,” Is the screen at great Harry Carey much since the days when the be classed as product Broadway. this "Mickey’s Stampede,” starring the V II and Harry Carey and Rtch'd Barthelmess In Rich'd Bartheimess In Conrad Nagel and John Gilbert in Leon Janney and a of Loew's Columbia Theater Mickey McGuire; “Play Ball,” one of Anollo Edwlna Booth Edwlna Booth “The Finger Points." “The Finger Points.” Sydney Fox in “Gentlemen’s Fate.” Lewis Btone In surrounding gaunt hills echoed Not one of them is in any way typical Vltaphone Vltaphone short „ , In In short Vltaphone short “The Bad Sister.” "Father's 8on." AT GLORIAweek. with the words, Hollywood popular Aesop Fables, the R-K-O subject.
    [Show full text]