October, 2005
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“The Spice of the Program” Educational Pictures and the Small-Town Audience
3 “The Spice of the Program” Educational Pictures and the Small-Town Audience “What the hell’s educational about a comedy?” asked slapstick producer Jack White in an interview toward the end of his life. “Something that was very offen- sive to me,” he continued, “was [the slogan] . ‘This is an Educational Comedy.’ There’s no such thing as educating yourself with a comedy. It’s a stupid name.”1 The object of White’s ire? The company for which he had produced and directed two- reel shorts for over a decade—the comedy distributor with the most unlikely of names: Educational Pictures. The company had been formed in 1915 as the Educational Films Corporation by real-estate man Earle W. Hammons, with the intent indicated by its name: to provide educational subjects for school, church, and other nontheatrical pur- poses. But by the late 1910s Hammons had realized little profit from this idea and began to target the commercial field, setting in motion a process of expan- sion that would see Educational become the dominant short-comedy distributor of the late silent era. “It did not take me long to find out that the demand [for educational films] did not exist and that we could not survive by doing that alone,” Hammons later recalled.2 As early as the 1918–1919 season, Educational had begun to diversify its product lines, adding Happy Hooligan and Silk Hat Harry cartoons to its weekly program of travelogues and informational sub- jects.3 In April 1920, Hammons signed director Jack White and comedian Lloyd Hamilton from Fox’s Sunshine Comedies to produce two-reel comedies under the brand name Mermaid Comedies, and began immediately taking further strides into the comedy market.4 The program for Educational’s 1920–1921 season, which represented the company’s first year of general commercial release, included four comedy series: the Mermaids, produced by White; C. -
Moma More Cruel and Unusual Comedy Social Commentary in The
MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active. -
(And Holmes Related) Films and Television Programs
Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led stories or 4 novels) to many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 5-22-14 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co. -
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-. -
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. -
Movie Night #6
#6 Winter 2013 12222222222222222222222222222222222222222222222222222222222222222222222222222222Za\ NEWS NEWS from SLAPSTICK BRISTOL’S ANNUAL FESTIVAL OF SILENT & VINTAGE COMEDYDad’s Army with Ian Lavender OMID DJALILI LEADS THE WAY AS SLAPSTICK MARKS 10th BIRTHDAY WITH CHARLIE CHAPLIN SALUTE Friday 24 – Sunday 26 January 2014 Britain’s biggest festival of silent and visual comedy returns to Bristol with a 10th birthday edition that will offer three laughter-filled days of films, music, archive discoveries, vintage television and celebrity guests. The programme opens with a gala, hosted by Omid Djalili, paying an extra-special tribute to Charlie Chaplin and the centenary of his most famous character, the Little Tramp. Comedian, film actor and Charlie Chaplin enthusiast Omid Djalili is to host the gala evening of film and music that will open Bristol’s tenth annual Slapstick festival of silent and visual comedy on Friday 24 January 2014. The gala event at Colston Hall will not only launch what is now acknowledged as the UK’s biggest celebration of screen comedy but will also be the first in a series of global events marking the centenary of Charlie Chaplin’s best-loved character, the Tramp. As a result, the Gala will have a special Chaplin focus, including a screening of the 1931 feature CITY LIGHTS, accompanied live by a 39-piece orchestra – the largest ever to appear at any Slapstick event. Festival organiser, Chris Daniels, says: “We’re absolutely thrilled that Omid Djalili is coming to Bristol to launch both our 10th birthday festival and the world’s centenary salute to one of cinema’s most iconic figures. -
NEW RELEASES! Are Available at a 5% Surcharge
FILM ~ ~ PRESERVATION ASSOCLA. TES ~ ® S3..'i San Fernando Road Sun Vall~·. C:\ 91352 Library \'oice & Fax: SIS i6S.53i6 Catalog Supplement of16mm Films Autumn1992 I ORDERING INFORMATION 1. All copies are printed to order. Nor mally, we use Eastman stock and can ship within three weeks. Estarprints NEW RELEASES! are available at a 5% surcharge. 2. Terms: Institutional purchase orders Look for this icon next to films that have never before been or payment ,,.;th order, please. Please add sales tax ifrequired, end add for released by Blackhawk or films that are new versions of shipping: $4 for orders up to $200; $7 previously released classics! for orders totalling between $200 and S-IOO; free sh.i pping for each order over $400 to destinations in the USA. We ship UPS unless Parcel Post is requested. 3. Returns will be accepted only for de fects in theprintingprocess(although we try for perfection!). 4. Use of these films is limited to non theatrical and home exhibition by direct projection only; all other uses, including stock shot, home video, television and theatrical exhibition, are reserved. Most of these films ere copyrighted in their entirety or to the extent of special contents or contain registered characters or trademarks. "Blackhawk Films· is a registered trademark of Playboy Publishing Group. 5. Hal Roach productions marked with an asterisk may be shipped only to destinations in the United States, its territories and possessions, to U.S. Government personnel at APO and FPO addresses, and to the Dominion of Canada. Eastern Hemisphere rights in Hal Roach productions are controlled exclusively by Cinema tografische Comen-Anstalt and are reserved. -
Stan Laurel: a Life on Film
M A Y , 2005 I S S U E N º HOLLYWOOD 4368 The Internet Noiseletter of the On The Loose tent (Oasis Nº 206) of the Sons of the Desert StanStan Laurel:Laurel: N EXT M EETING May 21st, 2005 A Life on Film AA New Life Series Beginning on With Filmthe May 21st 7:00 pm ~ 12:00 am Meeting of On The Loose at 188 Seames Drive Manchester, NH Join us for an evening of film (titles both familiar and obscure), scholarship and finger food (take your eats right over there). With the May 21st, 2005 meeting, On The Loose takes a renewed purpose in tackling the “loving study of the persons and films of Stan Laurel and Oliver Hardy.” In the past few weeks, eh, months, ahem, years, bhhrr, near- ly a decade now, we have been steadily drifting away from the absolute purity of that purpose. Now, while we have not drifted so far away that the far shores presently reside on distant continents (or in-continents as may be the case with some of our members), it certainly wouldn’t hurt to put our shoulders together, row for the beach and hope sin- cerely that we wind up somewhere in the vicinity of Culver City. That doesn’t mean. however, that we won’t find our- selves now and again passing the Christie Studios, the Keaton lot, Mr. Sennett and company, or hanging from a telephone pole in the company of a certain cross-dressing ape friend. On the other hand, we will at all cost avoid wan- dering too far afield with the child-demons: Sunny McKean, Arthur Trimble and Mickey “himself” McNausea. -
Movie Night 7
Welcome, again, to another issue of ‘MOVIE NIGHT’. Thanks to all who have contributed, especially to David Wyatt for providing his regular column. This is the longest issue to date, thanks in no small measure to the many exciting events, DVD releases and pieces of news that have been happening lately. It’s a good time to be a silent comedy fan! As always, please do get in touch with articles, story submissions, or opinions and ideas. Your contributions are really appreciated. In case you missed it, there’s a new email: [email protected]. Alternatively, you can still use my old address, [email protected]. Thanks for your continued support, and happy reading! Cover photo: George Formby, Cyril Ritchard and Kay Walsh in ‘I SEE ICE’ (1938). STOP PRESS! AN AMAZING BUSTER KEATON DISCOVERY! The International Buster Keaton Society (The Damfinos) have announced a fantastic, unexpected find in a new press release: A treasure trove of previously unknown behind-the-scenes material documenting the making of Buster Keaton’s The General, long considered one of the greatest films ever made, has recently been discovered by a member of the International Buster Keaton Society Inc. In the summer of 1926, Cottage Grove, Oregon, a local photographer was given unprecedented access to the filming of the classic, and his vast collection of photographs and nitrate negatives remained stored in a box until found recently by one of his descendants. The collection was obtained by the member of the Buster Keaton Society, and rights to publish the materials were donated to the group. -
Autobiography of Lee De Forest
Father of Radio THE autobiography OF Lee de Forest r9fo WilcoxFollett Co. CHICAGO EDITORS: Linton J. Keith Arthur Brogue DESIGNER: Stanford W. Williamson COPYRIGHT, 1950, BY Wilcox & Follett Co. Chicago, Ill. All rights in this book are reserved. No part of the text may be reproduced in any form without permission of the publisher, except brief quotations used in con- nection with reviews in magazines or newspapers. PRINTED IN THE UNITED STATES OF AMERICA Father of Radio I Dedication To my old comrades and associates in the forgotten days of Wireless -to my eager assistants in the early years of the Audion and of Radio- broadcasting-to the multitudes of young men and women who loved, as I have loved, the long night hours of listening to distant signals and far-off voices-to the keen engineers who hastened to grasp the new elec- tronic tools I laid before them, creating therewith a vast new universe- to the United States Navy, which was always prompt to use my new wireless and radio devices, whose operators heard my first radiobroadcast, and whose Admirals never failed to give me welcome encouragement when it was most sorely needed-to the United States Signal Corps, whose Chiefs and Officers have from the beginning continued to be friend and guide-to the Bell Laboratories engineers who first saw the worth of the Audion amplifier-to the radio announcers who must speak what is writ- ten though their hearts be not always therein-to the brilliant pioneers in our latest miracle of Television-to the partner of my earliest wireless ex- periments, E. -
Untitled Review, New Yorker, September 19, 1938, N.P., and “Block-Heads,” Variety, August, 31, 1938, N.P., Block-Heads Clippings File, BRTC
Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous support of the Ahmanson Foundation Humanities Endowment Fund of the University of California Press Foundation. Hokum! Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture Rob King UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2017 by Robert King This work is licensed under a Creative Commons CC BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: King, Rob. Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture. Oakland: University of California Press, 2017. doi: https://doi.org/10.1525/luminos.28 Library of Congress Cataloging-in-Publication Data King, Rob, 1975– author. Hokum! : the early sound slapstick short and Depression-era mass culture / Rob King. Oakland, California : University of California Press, [2017] | Includes bibliographical references and index. -
Cinecon Films
Updated September 6, 2019 RELEASE TITLES DATE COMPANY CINECON YEAR SUMMARY / NOTES Charlie on the Ocean 1921 ? 1 1965 NOTE: [Charlie Chaplin newsreel] Conquest of the North Pole 1912 G. Méliès 1 1965 Feathered Nest, The 1916 Keystone 1 1965 Lure of the Circus, The 1918 Universal 1 1965 NOTE: [excerpts] Max the Pickpocket 1 1965 Primitive Lover, The 1922 First National 1 1965 Road to Yesterday, The 1925 DeMille/PDC 1 1965 Screen Snapshots Columbia 1 1965 Show People 1928 M-G-M 1 1965 Spanish Dancer, The 1923 Paramount 1 1965 Square Deal Sanderson 1919 Ince/Paramount 1 1965 Uncensored Movies 1923 Hal Roach/Pathe 1 1965 Winsor McKay Explains Cartoons to John Bunny 1911 Vitagraph 1 1965 Coward, The 1915 Ince - KayBee 2 1966 Eyes of Youth 1919 Garson 2 1966 Hands Up! 1925 Paramount 2 1966 Hazards of Helen, The 1914 Kalem 2 1966 Invaders, The 1912 KayBee 2 1966 Iron Claw, The 1916 Pathé 2 1966 Lizzies of the Field 1924 Sennett/Pathe 2 1966 Man With the Punch, The 1920 Universal 2 1966 Beauty and theBump 1927 Skylark - Bray 3 1967 Don Juan 1926 Warner Bros. 3 1967 Fatty and Mabel Adrift 1916 Keystone - Triangle 3 1967 Irene 1926 First National 3 1967 Iron Horse, The 1924 Fox 3 1967 Judith of Bethulia 1913 Biograph 3 1967 Kismet 1920 Robertson-Cole 3 1967 Last Command, The 1928 Paramount 3 1967 Updated September 6, 2019 Navigator, The 1924 Keaton/Metro 3 1967 Richard the Lion Hearted 1923 Allied Producers 3 1967 Sherlock, Jr. 1924 Keaton/Metro 3 1967 Silent Clips 3 1967 Silent Movie as a Communicator, The 3 1967 Sons Of The Desert 1933 Roach/M-G-M 3 1967 Steel Shod Evidence 1923 Pathé 3 1967 Big Boy Short Educational 4 1968 NOTE: [title not known] Crackerjack, The 1925 C.C.