Illustrations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Film Essay for “The Wind”
The Wind By Fritzi Kramer “The Wind” is legendary for its raw emotional power, its skillful direction and the triumphant performances of its leads. Lillian Gish, Lars Hanson and director Victor Sjöström (credited during his time in Hollywood as “Seastrom”) had previously worked together on “The Scarlet Letter” (1926), a creative and commer- cial hit, and Gish had chosen a psychological west- ern written by Texas native Dorothy Scarborough as their next vehicle. The novel focuses on Letty, a so- phisticated Virginia girl who is forced to relocate to a remote ranch in Texas. Driven to the brink of mad- ness by the harsh weather and unceasing wind, Letty’s situation becomes worse when circumstanc- es force her to accept a marriage proposal from Lige, a rough cowboy. Roddy, a sophisticated city man, takes advantage of Letty’s fragile mental stage and rapes her. Letty responds by shooting him and then races outside, giving herself to the wind. It’s easy to see the appeal of this intense work, especial- ly in the visual medium of silent film. Gish later wrote that playing innocent heroines, roles she sarcastically described as “Gaga-baby,” was an enormous challenge.1 So much sweetness and light could quickly bore audiences if it wasn’t played just right but a villain could ham things up with impunity. Gish had dabbled in different parts, playing a street- wise tenement dweller in “The Musketeers of Pig Alley” (1912) and a heartless vamp in the lost film “Diane of the Follies” (1916), but film audiences were most taken with her more delicate creations. -
Cartolina Serata in Piazza Maggiore
domenica 26 giugno Piazza Maggiore, ore 21.45 dal 25 giugno Omaggio a Marlon Brando I DUE VOLTI DELLA VENDETTA al 2 luglio (One-Eyed Jacks, USA/1961) Regia: Marlon Brando. Soggetto: dal romanzo La storia di Hendry Jones di Charles 2016 Neider. Sceneggiatura: Guy Trosper, Calder Willingham. Fotografia: Charles Lang Jr. XXX edizione Montaggio: Archie Marshek. Scenografia.: Hal Pereira, J. McMillan Johnson. Musica: Hugo Friedhofer. Interpreti: Marlon Brando (Rio), Karl Malden (Dad Longworth), Pina Pellicer (Louisa), Katy Jurado (Maria), Ben Johnson (Bob Amory), Slim Pickens (Lon), Larry Duran (Modesto), Hank Worden (Doc), Rodolfo Acosta (capo dei Rurales), Timothy Carey (Howard Tetley). Produzione: Frank P. Rosenberg per Pennebaker, Inc. DCP. Durata: 141’. Versione originale con sottotitoli italiani Copia proveniente da Universal Pictures. Restaurato da Universal Studios in collaborazione con The Film Foundation. Un ringraziamento speciale a Martin Scorsese e Steven Spielberg per la loro consulenza sul restauro Introduce Margaret Bodde Primo e unico film diretto da Marlon Brando, questo originalissimo western non è solo una delle sue interpretazioni migliori e più misurate (soprattutto se si pensa che Brando aveva solitamente bisogno di registi di polso che gli impedissero di strafare), ma anche un debutto molto promettente, e, visto che fu anche la Serata promossa da sua ultima regia, uno dei migliori esempi di carriera costituita da un solo film. La produzione fu molto accidentata; la sceneggiatura fu scritta inizialmente da Rod Serling e poi da Sam Peckinpah (il che spiega alcune analogie con Pat Garrett & Billy the Kid, 1973) quando a dirigere il film doveva essere Stanley Kubrick, e infine riscritta da Calder Willingham e quindi da Guy Trosper quando Brando prese in mano il film. -
Retrospektive Der Viennale 1973 DER AMERIKANISCHE WESTERN 1898—1960 15 Uhr 17 Uhr 19 Uhr 21 Uhr Do 29
Retrospektive der Viennale 1973 DER AMERIKANISCHE WESTERN 1898—1960 15 Uhr 17 Uhr 19 Uhr 21 Uhr Do 29. 3. 73 CRIPPLE CREEK BARROOM (1898), THE GREAT IN OLD ARIZONA (1929) BILLY THE KID (1930) THE BIG TRAIL (1930) TRAIN ROBBERY (1903), BURIED LETTERS (1910), THE Regle: Raoul Walsh, Irving Cummings Regie: King Vidor Regie: Raoul Walsh STAGECOACH DRIVER AND THE GIRL (1913), Mit: Edmund Lowe, Dorothy Burgess Mit: John Mack Brown, Wallace Beery Mit: John Wayne. Marguerite Churchill MAKING OF BRONCHO BILLY (1913), SIERRA JIMS REFORMATION (1915), HELL'S HINGES (1916) Fr 30. 3. 73 SHOOTIN" MAD (1918) CIMARRON (1930) LAW AND ORDER (1932) THE PLAINSMAN (1936) Regle: Jesse J. Robbins. Mit: G. M. Anderson. Regie: Wesley Ruggle3 Regie: Edward Cahn Regie: Cecil B. DeMille DRAG HARLAN (1920) Mit: Richard Dix, Irene Dunn Mit: Walter Huston, Harry Carey Mit: Gary Cooper, Jean Arthur Regie: J. Gordon Edwards. Mit: Tom Mix Sa 31. 3. 73 THE TOLL GATE (1920) THE TEXAS RANGERS (1936) FRONTIER MARSHALL (1939) DRUMS ALONG THE MOHAWK (1939) Regie: Lambert Hillyer Regle: King Vldor Regie: Allan Dwan Regie: John Ford Mit: William S. Hart Mit: Fred MacMurray, Jack Oakie Mit: Randolph Scott, Nancy Kelly Mit: Claudette Colbert, Henry Fonda So 1. 4. 73 THE COVERED WAGON (1923) JESSE JAMES (1939) STAGECOACH (1939) UNION PACIFIC (1939) Regie: James Cruze Regie: Henry King Regie: John Ford Regie: Cecil B. DeMille Mit: J. Warren Kerrigan, Lols Wilson Mit: Tyrone Power, Henry Fonda Mit: Clalre Trevor, John Wayne Mit: Barbara Stanwyck, Joel McCrea Mo 2., 4. 73 THE IRON HORSE (1924) NORTH WEST MOUNTED POLICE (1940) THE RETURN OF FRANK JAMES (1940) NORTHWEST PASSAGE (1940) Regie: John Ford Regie: Cecil B. -
Made in America: Exploring the Hollywood Western Red River (1948) – Introductory Lecture
MADE IN AMERICA: EXPLORING THE HOLLYWOOD WESTERN RED RIVER (1948) – INTRODUCTORY LECTURE TRANSCRIPT Introductory Lecture: Red River (1948) Welcome to the Western. I’m glad you can be here today. Red River (1948) is a 1948 Western film produced by Howard Hawks and starring John Wayne and Montgomery Clift. The film’s supporting cast features Walter Brennan, Joanne Dru, Colleen Gray, Harry Carey, John Ireland, Hank Worden, Noah Beery, Jr., Harry Carey Jr., and Paul Fix. The screenplay was based on Borden Chase’s original story which was first serialized in The Saturday Evening Post in 1946 as “Blazing Guns on the Chisholm Trail.” The movie’s ending differs from that of the original story. In Chase’s Saturday Evening Post’s story, Cherry Valance shoots Tom Dunson dead in Abilene and Matt takes his body back to Texas to be buried on the ranch. Red River cost an estimated $3 million to make it did very well at the box office. In 1948, it grossed $5 and a half million domestically and worldwide it made over $9 million. It was a very, very popular movie. The film is also an art movie. It was nominated for Academy Awards for Best Film Editing by Christian Nyby and Best Writing Motion Picture Story by Borden Chase. John Ford was so impressed with John Wayne’s performance in Red River that he is reported to have said I didn’t know the big son of a bitch could act. In June 2008, the American Film Institute listed Red River as the fifth best film in the Western genre. -
Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012
Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs. -
For Immediate Release December 2001 the MUSEUM of MODERN
MoMA | Press | Releases | 2001 | Mauritz Stiller Page 1 of 6 For Immediate Release December 2001 THE MUSEUM OF MODERN ART PAYS TRIBUTE TO SWEDISH SILENT FILMMAKER MAURITZ STILLER Mauritz Stiller—Restored December 27, 2001–January 8, 2002 The Roy and Niuta Titus Theater 1 NEW YORK, DECEMBER 2001–The Museum of Modern Art’s Film and Media Department is proud to present Mauritz Stiller—Restored from December 27, 2001 through January 8, 2002, in The Roy and Niuta Titus Theater 1. Most films in the exhibition are new prints, including five newly restored 35mm prints of Stiller’s films from the Swedish Film Institute. All screenings will feature simultaneous translation by Tana Ross and live piano accompaniment by Ben Model or Stuart Oderman. The exhibition was organized by Jytte Jensen, Associate Curator, Department of Film and Media, and Edith Kramer, Director, The Pacific Film Archive, Berkeley, in collaboration with Jon Wengström, Curator, Cinemateket, the Swedish Film Institute, Stockholm. The period between 1911 and 1929 has been called the golden age of Swedish cinema, a time when Swedish films were seen worldwide, influencing cinematic language, inspiring directors in France, Russia, and the United States, and shaping audience expectations. Each new release by the two most prominent Swedish directors of the period—Victor Sjöström and Mauritz Stiller—was a major event that advanced the art of cinema. "Unfortunately, Stiller is largely remembered as the man who launched Greta Garbo and as the Swede who didn’t make it in Hollywood," notes -
Arrival of a Group of Important Films from Sweden 1937
THE MUSEUM OF MODERN ART |1 WEST 53RD STREET, NEW YORK TELEPHONE: CIRCLE 7.7470 F°R RELEASE TUESDAY, APRIL 27, 1937 The Museum of Modern Art announces the appointment of Mrs. Dwight Davis of Washington, D. C. as Out-of-town Chairman of its Membership Committee for that city. Mrs. Davis has invited prominent residents of Washington who are in terested in the arts and particularly in modern art, to her home Monday afternoon, May 3rd, to meet Mr. A. Conger G-oodyear, President of the Museum of Modern Art in New York. Mr. G-oodyear will talk on contemporary art and the work of the Museum. The Museum of Modern Art was founded in the Fall of 1929 and, although it has its headquarters in New York City, it has never been merely a local institution. Nearly half of its members live more than seventy-five miles away from New York City and it has Out-of-town chairmen who form the nucleus of membership groups in Buffalo, New York; Chicago, Illinois, Cincinnati, Ohio; Cleveland, Ohio; Detroit, Michigan; Hartford, Connecticut; Houston, Texas; Louisville, Kentucky; Minneapolis, Minnesota; New Haven, Connecticut; Palm Beach, Florida; Philadelphia, Pennsylvania; Pittsburgh, Pennsylvania; Princeton, New Jersey; Providence, Rhode Island; Rochester, New York; San Francisco, California; St. Louis, Missouri; St. Paul, Minnesota; State of Vermont; Washington, D. C; Waterbury, Connecticut; and Worcester, Massachusetts. Out-of-town members are constantly in touch with all the activities of the Museum through its bulletins and the large, comprehensively illustrated books of each of its major exhibitions during the year. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
DT Filmography
Dolly Tree Filmography Legend The date after the title is the release date and the number following is the production number Main actresses and actors are listed, producer (P) and director (D) are given, along with dates for when the film was in production, if known. All credits sourced from AFI, IMDB and screen credit, except where listed Included are contentious or unclear credits (listed as Possible credits with a ? along with notes or sources) FOX FILMS 1930-1932 1930 Just Imagine (23/11/30) Maureen O’Sullivan, Marjorie White David Butler (D) Possible Credits 1930 ? Soup to Nuts ? Part Time Wife 1931 Are You There? (3/5/31) Hamilton MacFadden (D) Annabelle’s Affairs (14/6/31) Jeanette Macdonald Alfred Werker (D) Goldie (28/6/31) Jean Harlow Benjamin Stoloff (D) In production mid April – mid May 1931 Bad Girl (12/9/31) Sally Eilers, Minna Gombell Frank Borzage (D) In production July 1931 Hush Money (5/7/31) Joan Bennett, Myrna Loy Sidney Lanfield (D) In production mid April – mid May 1931 The Black Camel (June 1931) Sally Eilers, Dorothy Revier Hamilton MacFadden (D) In production mid April – early May 1931 Transatlantic (30/8/31) Myrna Loy, Greta Nissen William K. Howard (D) In production mid April – early May 1931 Page 1 The Spider (27/9/31) Lois Moran William C. Menzies (D) In production mid June – early July 1931 Wicked (4/10/31) Una Merkel, Elissa Landi Allan Dwan (D) In production mid June – early July 1931 Skyline (11/10/31) Myrna Loy, Maureen O’Sullivan Sam Taylor (D) In production June 1931 The Brat (20/9/31) Sally O’Neill, -
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. -
Issue 125 December 2018 Vol. 30 No. 4
Issue 125 December 1, 2018 Volume 30 THE OFFICIAL CHRONICLE FOR THE LONE RANGER FAN CLUB MEMBERS HIGHLIGHTSHIGHLIGHTS ININ THISTHIS ISSUEISSUE THE LAST HERO By: JL Maddox Page 2 WHO KILLED THE LONE RANGER – AND WHEN? Reporters and Contributors in By: Dr. Jim Vickrey, , Ph.D., J.D. this Issue Page 4 jJon Maddox—# 720 TRIVIA CONTEST WINNER [email protected] By: Nolan Greer Bill Niland—# 199 Page 8 [email protected] ******NEW FEATURE******* Dr. Jim Vickrey, , Ph.D., J.D. —#635 EPISODES IN REVIEW 1 & 2 [email protected] By: Bill Niland Steve White—#346 Page 9 [email protected] GUEST STARS ON THE LONE RANGER Nolan Greer—#652 By: Steve White [email protected] Page 13 A TRIBUTE TO CLAYTON MOORE Annie Little—#606 By: Nolan Greer [email protected] Page 15 The Lone Ranger Fan Club [email protected] HAPPY BIRTHDAY TO OUR MEMBERS! Page 16 Tonto’s Tale Page 3 From the Editor By: Annie Little Page18 Offbeat Fact By: TLRFC Page 19 Page 1 Issue 125 December 1, 2018 Volume 30 The Last Hero By: JL Maddox TLRFC MEMBER # 720 When I was a boy, heroes were everywhere. Real heroes don’t have super powers. They can’t fly like Superman, or walk up the side of buildings like Spiderman, or have all the gadgets of Batman. Even as a boy I knew that people with all those powers weren’t afraid or even took chances. Those were not heroes, because real heroes take chances. Jon Maddox When I was young, a day without a hero was an extraordinary day. -
Flesh and the Devil MGM 1926
Flesh and the Devil MGM 1926 Directed by Cast Leo von Harden... John Gilbert Felicitas von Rhaden... Greta Garbo Ulrich von Eltz... Lars Hanson Hertha... Barbara Kent Pastor Voss... George Fawcett Screenplay... Benjamin F. Glazer Photography... William Daniels Film editor... Lloyd Nosler Art directors... Cedric Gibbons & Frederic Hope Titles… Marian Ainslee Duration: 112mins Projection speed: variable Aperture: full Score by Carl Davis (60 players) LIVE CINEMA FLESH AND THE DEVIL In a romantic landscape of gothic castles, dense forests and hidden lakes, Leo and Ulrich grew up together and pledged life-long friendship. They both joined the Prussian army as Hussars. Making the most of the privileges of their class, they share a carefree existence until they meet Felicitas von Rhaden, an alluring older woman. At a ball given in his honour, Leo shows his fascination for Felicitas and, regardless of prying eyes or protocol, the two make love. Their brief encounter be- comes a passionate love affair until discovered by Count von Rhaden, Felicitas’ husband. His family’s honour tainted, the Count demands satisfaction. Leo sur- vives the duel but must leave the country. His obsession with Felicitas endures a long separation. Unfortunately she is less constant. On returning to Germany, Leo finds her married to Ulrich. Distraught, he ends his friendship with Ulrich. On the pretext of reuniting the friends, Felicitas requests a meeting with Leo. She is suc- cessful in her mission and in her underlying motive, to rekindle their affair. They plan to run away together. Ulrich returns unexpectedly from a business trip bring- ing Felicitas a diamond bracelet, reminding her of the life she would forego in exile with Leo.