Phone 1*4 THEATRE J

Total Page:16

File Type:pdf, Size:1020Kb

Phone 1*4 THEATRE J SDAY TORRANCE HERALD AUGUST 19,1926 r. and Mrs. Lewis Ripple and Mrs. L. C. Milter at Pola Negri In ny, of Carson street, were Sun- avenue attended tt*> Eastern Stars Rooney Family da^' vis|t°r« In Santa Ann. Sundn sHlonary service at Uw I Lutho rhurct at Ingl«j»»*« ORRANCE] New Fflm Here Observe Fifth Heads Orpheum ORRANCE Mlsrf .folly Mayhcw Hai ilevftrrt", I-°» Angrles, IB a Mr. and Mm. Charles T NEWSLETS guest of MK .and Mrs. D. W. RliOejr * Phone 1*4 THEATRE j For Two Days Birthday Here Bill Next Week I.fw Angeles were RuestH of Mr. -Subject to Change Without Notice of Wostenf avenue. nntl Mrs. George Proctor ^ PROGRAM Good and Naughty' at the Proctor cottage To Be Famous Group Heads An­ Landing. August 18 to 27, Jnc. Two Shows Every Night Shown at Torrance other Attractive Menu D. F. Doyh Ml as Vivian Mrs. F. Lewis Peters and daugh­ At 8:80 and 8:30 anil dhestei Charles and ters. Misses Katherlne and Maxine lioyle left Sunday for their Matinee* Saturday and Sunday at 2:30 Theatre of Vaudeville Young, left Saturday for a month's Mr Harry Bales .and Mm. W. 3 In Sacramento, after a pleas- C. Andi-uS were recent Price* Alway* 2*of Children 10c visit at the Tomklns home on trip to San Francisco and Reno, >la Nogrl plays her first out­ Lilting tunes, LOB Angeles. program Iwi't delivered regularly give u* your name for o«ir Orange-shaded lights cast a soft lavish settings, and Grameroy avenue. Nev.,j_aod visits to other points of P multirfg ll.t. ________________ right screen comedy role in "Good glow oven the beautifully decorated the flashing heels of the Rodneys Interest An route. v Mr. and Mrs. W. and Naughty," which comes to the Masonic Temple augmented by a bevy of beautiful D. Abbott «C THURSDAY AND FRIDAY, AUQ. 19-20 banquet hall at r. and Mrs. George Worcester Carson street spent Sunday at Be- Torranoe Theatre Thursaay and ast Thursday .evening, when Tor­ girls In "Rooneylsms of 1926-7" will sons were weekend visitors In Mr. and Mrs. A. J. Stoner and dondo Beach. "GOOD AND NAUGHTY" Friday. rance Chapter No. 880, O. B. adllm attraction at the ece, of Los Angeles, were enter­ The picture is a rollicking com­ S., be FEATURING celebrated its fifth anniversary with Orpheum opcnliopening Sunday, Aug. 22. tained at dinner Thursday by Mr. Dr. and Mrs. E. Foamun am edy of love errors very skillfully and Mrs. Harry Warren. out treated by The nimble Pat /Rooney, with Peggy and Marion Zeller of Re- of town on r n-days Taoattam. Malcolm St. Clalr, the chicken dinner. Marion Bent Pola Negri, Tom Moore and director. It was adapted from A color scheme of lattcnder. and Pat Rooney in, .ondo Beach are guesta this week or­ has assembled a -lavish offering; at the home of their uncle. Rev. Avery Hopwood's stage farce, ange and purple was carried out 'Naughty Cinderella." for his tour of the Orpheum, and Jf Zeller, of Marcellna avenue. Ford Sterling In detail. Orange butterflies with the large east of stellar lights ere you have the Pola you've been wishing for in a *tory of Tom Moore plays opposite Miss Negri in her latest Paramount lavender and purple wings floated appearing in the production Include today with an American background. A bright, florgeouely- the shaded lights. The Nlta Townsend and Billy Bold, Harry Warren was a business gowned love comedy of Palm Beach high »oolety. feature, and a superb humorous .Irily fro Isltor In Paso Robles this week. 'acterlzatlon centerpl the tables were Muriel Stryker, Anita. Nieto, Mll- omedy,-"l*n't Love Cuckoo?" Fox New* Is given by Ford Ired Burns, Sterling. sailboats »ith hulls of lavender and and the Van Joyce Al*o A Bit of Drama, "The Choice" ________ . ' / purjile; colls of orange ropes lay sisters. Pat's production this year Mr. and Mrs. A. W. MaUme and "—————————~SATURDAY, AUG. 21 on the necks, and glistening white is particular significance because ins, of Andreo avenue, and Mr. 07* Portraying for the screen an marks ruption of Mount La Pelee on the sails were set for another year's the twenty-first year of and Mrs. McLaughlln of LOB An­ "THE VOLCANO" Tall bounuets of orange, married'life and stage partnership geles are enjoying a two-weeka French West Indian island of Mar­ of himself Featuring tinique, which destroyed the city of ind lavender flowers were and Marion Bent and it racatton with relatives at Portera- Plerre and wiped out 28,000 connected by streamers of llke- ilso heralds the- flebut of Pat III, llle. ,olored ribbons. The favors were ^presenting the third generation Bebe Daniels and Wallace Beery . B, is the huge undertaking of Booneys, which was accomplished during the nut baskets of lavender and purple, to Orpheum audiences. tr. and Mrs. G. H. Bradford truly dramatic role. "Allv"Alive" with thrillina *peotaol( Ith orange butterflies perched on Nick Lucas, "The Crooning and Optometrist filming 'of "Volcano," William K. illy and Miss Carolyn Stroh At HOWARD'S, 1503 Cabrillo Ave., Torranoe and romance. Howard's new dramatic the handles. Members of the com­ roubador," will remain for another motored "What1* the World production week, to Santa Barbara Sunday. Phone 157- R for Appointment Comedy, Coming To for Paramount, which comes to the mittee who served the dinner wore with the same crooning voice view Torrance Theatre Saturday. dainty bandeaus of the prevailing and elodic ja guitar but with ai (Political Advertising) (Political Advertising) (Political Advertising) "Radio Detective," No. 8 Plans for the project had to be entire nev repertoire of songs. Matinee Only made with extreme care in or* Lighted candles marked the cor­ Other outstanding featui es will be to safeguard the lives of ners of the star outlined In the Herbert Faye, assisted by Bert SUNDAY AND Bebe Morrlssey, Bobble Brown MONDAY, AUGUST'22-23 Daniels, Rlcardo Cortez, Wallace lodge colors which adorned the and Flo MARY ASTOR, JAMES KIRKWOOQ and BETTY COMP6ON large birthday cake. Worthy Ma­ DonlB, in "Laughology": the beau­ in Beery, and the others who were tiful compelled to appear In scenes with tron' Persia K. Fess and Worthy Diehl Sisters and McDonald in Patron Perry G. Brlney cut the "Artistic Comedy"; Da vis and Pelle "THE WISE these settings crashing down on In GUY" them. It is a tribute cake, and pieces were presented to "An EQUillbristlc Marathon," and. A story of low and .faith that remind* you of the. finest picture* to all con­ two other Orpheunj cerned that not one Injury was the diners. acts you have ever teen and leave* you with the memory that you There were no lengthy speeches. have never enen anything half to wonderful before.' recorded. ' Worthy Matron Fess gave a sflOrt WISCONSIN PICNIC COMEDY "A SWEET PICKUE" NEWS Frank Lloyd, who produced history of the Torranoe chapter well remembered "Sea Hawk," has from the time it-was organized in TUESDAY AND WEDNESDAY, AUGUST 24-25 Just completed a new production the hall at Lomlta with a few are Invited to meet for the great for members to the present, when the picnic reunion all day Saturday First National which promises August 28, In Sycamore Keep DOUBLE Grove Park, the FEATURE membership Looters BILL 1 to surpass in interest his previous numbers 1«9. achievement. Mrs. Fess thanked tha committee Los Angeles. "MY OLD This is "The Wise Guy." with who planned and served the dinner DpTCH" James KirkWOQd, in the title role and wlw were responsible for the Mr. and Mrs. W. C. Dolley o Featuring MAY McAVOY and PAT O'MALLEY Gffimercy avenue and Mr. and Mrs The picture is booked to be shown really beautiful deflorations. Mem­ ALSO bers of the committed Were Mrs W. D. Thornberg of Long Beach at the Torrance Theatre Sundaj enjoyed a drive to Ontario Sunday and Monday. A. H. Bartlett, Mrs. J. O. Moore, "THE PALACE OF PLEASURE" Others featured in the cast of Mrs. W, H. Stanger, and Mrs With a i All Star "The Wise Guy? are Betty Comp- Charles Mueller. Cast Two candidates received the COMEDY 'WHO'S WHICH" ,son, Mary Astor, Mary Carr, George F. Marion, and George Initiatory degree at the meeting of Four years ago Governor the chapter which followed Richardson kicked the spend- THURSDAY AND FRIDAY, AUGUST 26-27 Cooper. It was especially written for the screen by Jules Furthman. dinner. Watch , thrifts out of control of the government of California. "SEA HORSES" Many noted players are Seen In the cast of "My Old Dutch," Mischa Elman at * Now the same hungry horde of political bosses Neylan, Featuring JACK HOLT, FLORENCE VIDOR, GEORGE BAN­ which CROFT and WILLIAM Lawrence Trlmble directed at Uni­ Hollywood Bowl POWELL versal City, with May McAvoy, Pat Service^- McCabe, Finn and Parrot by falsehood and misrepresen­ All three men wanted her. All three fought for her! Which won? O'Malley, Cullen Landis and Jean Monday, Aug. 23 A great picture produced spectacularly into one of the finest Hersholtjn the principal roles, and tation are attempting to secure possession of the tea thriller* the screen ha* ever seen. which comes to the-Torranee The­ The musical surprise of the sea.' "Service" Is more than a COMEDY "HIS WOODEN WEDDING" ' NEWS atre next Tuesday and Wednesday. con comes In the announcemen' slogan it's a pledge with Edgar Kennedy, noted director and that Mischa Klman, world-famous aoeao delineator of "heavy" roles, plays violinist, and the complete Holly HOWARD'S.
Recommended publications
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • 46 Pola Negri in 1927
    Courtesy LofC, Prints & Photo Div, LC-DIG-ggbain-37938 Pola Negri in 1927 46 ARLINGTON HISTORICAL MAGAZINE Pola Negri Slept Here? Unraveling the Mystery of a Screen Siren's Stay in Arlington BY JENNIFER SALE CRANE With Arlington having few Hollywood connections to boast of, save For­ rest Tucker, Warren Beatty, Shirley MacLaine, and Sandra Bullock, the story about a modest stone bungalow nestled in the Gulf Branch stream valley off of Military Road is curious indeed. According to a long-held local legend, silent film star Pola Negri once stayed there. Local accounts have varied- some say the house was rented by Negri as her "Virginia hideaway," others think it was built as Negri and Rudolph Valen­ tino's love nest, and played host to Hollywood-style pool parties. The cozy bungalow at 3608 N. Military Road, 1 with quite a few additions and alterations, is now home to the Gulf Branch Nature Center, established in 1966 and operated by Arlington County Department of Parks, Recreation and Cultural Resources. The swimming pool, filled in and planted with a garden, can still be identified by the exposed segments of its curved concrete walls. The Nature Center's connection to the early Hollywood star was investi­ gated in the 1970s by ComeliaB. Rose, Jr., a founding member of the Arlington Historical Society. Rose's documentation leaves a few questions unanswered. But despite the lack of unequivocal primary source evidence, the story of Pola egri and the Gulf Branch Nature Center has become an important part of the oral tradition of Arlington County.
    [Show full text]
  • 1 Call for Papers FINA International Conference: Pola Negri and the Vicissitudes of Stardom Filmoteka Narodowa-Instytut Audiowi
    Call for Papers FINA International Conference: Pola Negri and the Vicissitudes of Stardom Filmoteka Narodowa-Instytut Audiowizualny, Warsaw, Wałbrzyska 3/5, 19-20 April 2018 Special Event of Silent Movie Festival (Święto Niemego Kina) Languages: Polish, English Deadline for submissions: 15 February 2018 We can say that 2017 was the year of Pola Negri: she was born 120 years earlier, it’s the 30th anniversary of her death, and the 100th anniversary of the premiere of Bestia, the only surviving film from the early Polish period of her career. On this occasion the National Film Archive-Audiovisual Institute, in pursuit of its mission to protect national cultural heritage, has carried out a restoration project of the film. The Polish re-premiere will take place in April 2018 at the annual Silent Movie Festival (Święto Niemego Kina). Pola Negri will be the main theme of both the festival and an International Conference, organized by FINA, with additional support by film scholars from leading Polish universities, in conjunction with the Giornate del Cinema Muto and in collaboration with EYE Filmmuseum. The conference will serve as a platform for exchanging information on the latest findings and offers a forum for exploring various aspects of Pola’s Negri career, including her legacy today, as well as the people of her epoch who shaped her artistic education, and those she in turn influenced. Topics of interest: The Polish beginnings of her career in ballet and theatre Aspects we hope to cover include the Polish theatrical and dance scene in the 1910s (The Warsaw Imperial Ballet School and its teachers at the beginning of the 20th century; the Imperial Academy of Dramatic Arts; Warszawskie Teatry Rządowe; Teatr Mały).
    [Show full text]
  • Pola Negri's Star Persona in America of the 1920S Agata Frymus
    Pola Negri’s Star Persona in America of the 1920s Agata Frymus Abstract This chapter looks at the construction of Pola Negri’s persona by discussing her films, as well as her off-screen antics. Negri’s figure was emblematic of a representation of an exotic and threatening foreign woman, the association which inevitably incapacitated her career in the American movie industry. Firstly, I position the iconography of the vamp in the cultural context of the era. The figure of a pagan, earthy female sexuality had been popularised at the end of the nineteenth century by symbolist painters and consequently re-invented in the America of the 1920s to mobilise fears surrounding the growing economic independence of women and to reflect concerns linked to the new wave of immigration. I will analyse the ways in which Negri’s movies re-enacted those anxieties through their gender portrayal. The femme fatale crosses the boundaries of patriarchal norms, class and ethnicity, and produces a threat. In films such as Spanish Dancer,1 Negri not only personified a threat to the status quo, questioning rigid limitations of sexuality, but above all represented an ethnic hazard. Her exotic otherness threatened to undermine the existing cultural order, making Negri a unique symbol of the possibility of foreign invasion. From the outset of the star’s relationship with American media, the press insisted on seeing her mainly through the prism of her European otherness. Many articles contained deliberate misspelling to convey Negri’s Eastern European accent. By the late twenties the representational scheme Negri was widely associated with fell out of fashion, marking a turning point in her career.
    [Show full text]
  • Forbidden Paradise
    HOLLYWOOD Programming Thanks to Henri Langlois FORBIDDEN PARADISE American cinema seemed to achieve perfection at that time: perfection of the cut, perfection of the stitching, perfection of the fabric. There is not haute couture only in Paris, just as there is not 'haute production' only in Hollywood. The perfection of taste and technique, absolute mastery, discretion in daring. Ernst Lubitsch was, in our memory, the man whose oeuvre will someday symbolize this perfection, this flawless style that was the distinctive feature of this art1. Henri Langlois In celebrating Henri Langlois, it is impossible to forget the prince of American comedy. It was François Truffaut who came up with the 'prince' expression, in February 1968, in an article in Cahiers du Cinéma that has since become famous, written just after the major (re)discovery retrospective organized by Henri Langlois at La Cinémathèque française. Truffaut insisted on the place that Lubitsch gave the public: 'No Lubitsch without a public but mind, the public is not in addition, it is with. It is part of the film.' It was in Max Reinhardt's German stage production of Sumurun that Pola Negri met Ernst Lubitsch, who was working as a director of short films at UFA. Lubitsch managed to convince UFA to make a film adaptation in costumes, starring Pola Negri. Sumurun (1920) was a huge success, so much so that their collaboration would continue on different films, culminating in the production of Madame Du Barry (1919), a worldwide success that brought Lubitsch and Negri international fame. He left for Hollywood in 1922 and made some ambitious films as well as, and above all, daring, sophisticated comedies such as The Marriage Circle, Three Women, Lady’s Windermere’s Fan and the least seen, Forbidden Paradise.
    [Show full text]
  • CO 48.01 Intro.Cs
    Grace Cunard as criminal gang leader Patsy Montez on the set of The Purple Mask (1917). Cunard, who wrote and codirected this film with Francis Ford, is one of many “highly significant early female figures who have received only cursory attention in the histories of cinema.” Photo courtesy Museum of Modern Art Film Stills Archive Downloaded from http://read.dukeupress.edu/camera-obscura/article-pdf/16/3 (48)/1/400296/CO4801Introcs.pdf by guest on 27 September 2021 Introduction: Female Stardom and Early Film History Diane Negra Designed to explore specific cases of early female stars and the social, industrial, and ideological economies that underwrite the production of the star system, this issue of Camera Obscura takes a fresh look at early film history and the creative ventures of women performers. No single concept of stardom animates the essays gathered here; rather the stars discussed operate as figures through which the authors reconceptualize feminist film history and his- toriography. The inquiries made invite enlargement and reassess- ment of the subjects film studies deems significant for analysis; the assembled essays present the results of tracking alternative patterns, pathways, and modes of film history. Cumulatively contributing to what we hope will be a more panoramic view of the period between the early 1910s and the early 1930s, a twenty-year span in which narrative cinema first emerged, flourished, and moved to dominate cinematic produc- tion, the essays of this volume reflect a new energy in recent star scholarship even while they explore new modalities for exca- vating film history. The coextensive emergence of stardom in the period in which narrative film practices were consolidated Copyright © 2001 by Camera Obscura Camera Obscura 48, Volume 16, Number 3 Published by Duke University Press 1 Downloaded from http://read.dukeupress.edu/camera-obscura/article-pdf/16/3 (48)/1/400296/CO4801Introcs.pdf by guest on 27 September 2021 2 • Camera Obscura demands careful critical scrutiny.
    [Show full text]
  • R,Fay 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012
    DEPARTMENT OF CITY PLANNING EXECUTIVE OFFICES OFFICE OF HISTORIC RESOURCES MICHAEL LOGRANDE 200 N. SPRING STREET. ROOM 620 CITY OF Los ANGELES los ANGELES,CA 90012·4801 DIRECTOR (213) 978 ·1200 CALIFORNIA (213) 978·1271 ALAN BELl, Arc? CULTURAL HERITAGE COMMISSION O,PUlY D1R'CTOR· (213) 978-1272 RICHARD BARRON PR,S!O~NT USA WEBBER, Ale!> ROELLA H. LOUIE DEPUTY DIRECTOR VlCE-PR,SIOENT (213) 978-1274 TARA}. HAMACHER GAlL KENNARD EVA YUAN-MCDANrEl OZSCOTT DEPUlY DIRECTOR ANTONIO R. VILLARAIGOSA (213) 978-1273 FElY C PINGOl MAYOR FAX: (213) 978-1275 COMMISSION iOXECUTIVE ASSISTANT (213) 978-1294 INFORMATION (213) 978·1270 wwwplanning.ladty.org Date: r,fAY 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012 Attention: Sharon Gin, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER: CHCw2013w510wHCM GIBBONSwDEL RIO RESIDENCE 757 KINGMAN AVENUE At the Cultural Heritage Commission meeting of May 9, 2013, the Commission moved to include the above property in the list of Historic-Cultural Monument, subject to adoption by the City Council. As required under the provisions of Section 22.171.10 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau. of the city whose operations may be affected by the designation of such site as a Historic-Cultural Monument. Such designation in and of itself has no fiscal impact Future applications for permits may cause minimal administrative costs.
    [Show full text]
  • UFA Film Nights 2021
    Ernst Lubitsch’s CARMEN Contents Introduction 2 Greetings 4 The Movie Overview 6 Short bios 8 Contemporary Press Coverage 16 The Revival The Restoration 20 The Music 30 The Background Typification, Yes – Typism, No 36 Historical Background 38 The Publishers 42 Publishing Credits, Legal Notice, Picture Credits 46 On November 11, World War I abolished at the end of the war. The 1918 was an ended and with it the German Em- film was permitted to go wild. And it eventful year. pire. This meant not only the tempo- did. (...) Pola set the decorations aflut- rary end to strict Prussian morals, but ter with her frenzied dances. But she also – and likewise only temporarily – also got fame to Germany. For her- to film censorship, and paved the way self, for Ernst Lubitsch, for Ufa.“ (Der for the experiment of democracy and Spiegel 38/1950) the “Roaring Twenties,” which were And so it was: the exception- not exactly lacking in debauchery. al Berlin director Ernst Lubitsch, The first screening of the film who strove to “de-opera-tize” the version of CARMEN, based on the op- movie, and the enchanting Pola Ne- era by Georges Bizet, took place three gri, femme fatale of the first hour, days before the end of the war, on No- formed a dream team of the early vember 8, 1918, in the screening room days of film. CARMEN celebrated of Ufa’s studio in Tempelhof. Inside, great success overseas from 1921 the champagne flowed; outside, the under the title GYPSY BLOOD and previous world order was collapsing.
    [Show full text]
  • Major Swedish Retrospective of Classic Early Films
    FOR IMMEDIATE RELEASE The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart MAJOR SWEDISH RETROSPECTIVE OF CLASSIC EARLY FILMS See enclosed screening schedule .Two giants of the Swedish cinema, Victor Sjostrom and Mauritz Stiller, will be honored in a major historical retrospective to be introduced by the Department of Film of The Museum of Modern Art from February 3 through April 8, 1977. The new film exhibition, "Sjostrom, Stiller and Contemporaries," will present all the extant early works of these two master directors, with the exception of one unavailable print, "The Story of Gosta Berling." This will be the first time that these great silent Swedish films will be seen in the U.S. as a collection. Many other virtually unknown films dating from 1911 through 1929, which is called "The Golden Age of Swedish Cinema," will also be shown. The program is a unique opportunity to re-examine an important chapter in film history. Many of the films of Sj*ostrb*m and Stiller seem to have left a deep, strong impression even when they were first released, especially in America, Germany and Russia, according to Adrienne Mancia. The Museum Curator initiated this comprehensive retrospective, with the cooperation of Anna-Lena Wibom and her staff at the Swedish Film Institute, which is dedicated to the preservation of early Swedish film classics. Both Harry Schein, Chairman of the Board of the Institute, and Ms. Wibom, Director of the Institute's Cinemateque, will come to New York from Stockholm for the inauguration of this event.
    [Show full text]
  • ADVERTISEMENT Polishbeauties 6/12/07 13:33 Page 2
    POLISHbeauties 6/12/07 13:33 Page 1 All screenings will be held at: Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single- and double-bills!) This event was made possible through the kind support of: Official media partner Sponsored by ® Please watch out for the upcoming KINOTEKA 6th POLISH FILM FESTIVAL April/May 2008 at Riverside Studios and the Andrzej Wajda Retrospective at BFI Southbank. For more information, contests and our free newsletter, visit: www.PolishCulture.org.uk ADVERTISEMENT Courtesy of Muzeum Kinematografii in Lodz ® ed by sponsor January - 6 February 2008 9 Pola Negri Beata Tyszkiewicz Grazyna Szapolowska Magdalena Cielecka Alicja Bachleda-Curus From silent classics to the latest Hollywood films. From THE POLISH CULTURAL INSTITUTE AND RIVERSIDE STUDIOS PRESENT THE POLISH CULTURAL at POLISHbeauties 6/12/07 13:33 Page 2 POLISHbeauties 6/12/07 13:33 Page 3 The Polish Cultural Institute and Riverside Studios present a series of films starring some of the most legendary Polish Beauties to have graced the big screen. From silent films to Kieslowski classics and the latest Hollywood epics, these divas, femme fatales and ingénues are far more than just a pretty picture. 9 January – 6 February 2008 at Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single and double-bills!) Pola Negri Biography (9th January Double Bill - see page 3 for details) Polish silent film star Pola Negri was the first European actress turned Hollywood celebrity in the 1920s.
    [Show full text]
  • History of STG Silent Movie Mondays (Pdf)
    Seattle Theatre Group Silent Film History 1998-2020 1998 Film Title/Year Screen date Director Star Legends of Comedy The General, 1926 August 10,1998 Clyde Bruckman Buster Keaton & Buster Keaton The Pale Face, 1922 August 10, 1998 Edward F. Cline Buster Keaton & Buster Keaton The Gold Rush, 1925 August 17, 1998 Charlie Chaplin Charlie Chaplin Safety Last, 1923 August 24, 1998 Fred C. Newmeyer Harold Lloyd Two Tars, 1928 August 24, 1998 James Parrott Stan Laurel & Oliver Hardy 1999 Film Title/Year Screen date Director Star Funny Money Show People, 1928 June 7, 1999 King Vidor Marion Davis A Dog’s Life, 1918 June 14, 1999 Charlie Chaplin Charlie Chaplin The Pilgrim, 1916 June 14, 1999 Frank Borzage Frank Borzage Seven Changes, 1925 June 21, 1999 Buster Keaton Buster Keaton That Certain Thing, 1928 June 28, 1999 Frank Capra Viola Dana Heroes and Villains The Bat, 1926 July 5, 1999 Roland West George Beranger The Black Pirate, 1926 July 12,1999 Albert Parker Douglas Fairbanks Dr. Jekyll and Mr. Hyde, 1920 July, 19,1999 John S. Robertson John Barrymore Special Engagement Faust, 1926 October 31, 1999 F.W Murnau Emily Jannings Seattle Theatre Group Silent Film History 1998-2020 2000 Film Title/Year Screen date Director Star DW Griffith & MoMA Orphans of The Storm, 1921 July 3, 2000 DW Griffith Lillian and Dorothy Gish Way Down East, 1920 July 10, 2000 DW Griffith Lillian Gish Intolerance, 1916 July 17, 2000 DW Griffith Lillian Gish & Sci-Fi & Adventure The Lost World, 1925 October 2, 2000 Harry O. Hoyt Wallace Beery Aelita- Queen of Mars,1924 October 9, 2000 Yakov Protazanov Yuliya Solntseva Peter Pan, 1924 October 16, 2000 Herbert Brenon Betty Bronson Submarine, 1928 October 23, 2000 Frank Capra Jack Holt The Phantom of the Opera, 1929 October 20, 2000 Rupert Julian Lon Chaney 2001 Film Title/Year Screen date Director Star Women in Film La Boheme, 1926 July 9, 2001 King Vidor Lillian Gish My Best Girl, 1927 July 16, 2001 Sam Taylor Mary Pickford IT, 1927 July 23, 2001 Clarence G.
    [Show full text]
  • Uncanny Bodies: the Coming of Sound Film and the Origins of the Horror Genre
    © 2007 UC Regents Buy this book University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing 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 informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 The paper used in this publication meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).8 CHAPTER 1 THE UNCANNY BODY OF EARLY SOUND FILM There are uses of sound that produce a desirable effect; on the other hand, there are uses that disgust people.
    [Show full text]