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2017 Pioneer of the Year C H E R Y L B O O N E I S a A
1947 ADOLPH ZUKOR n 1948 GUS EYSSEL n 1949 CECIL B. DEMILLE n 1950 SPYROS P. SKOURAS n 1951 JACK, HARRY & ALBERT WARNER n 1952 NATE BLUMBERG n 1953 BARNEY BALABAN n 1954 SIMON FABIAN n 1955 HERMAN ROBBINS n 1956 ROBERT O’DONNELL n 1957 JOSEPH VOGEL n 1958 ROBERT BENJAMIN & ARTHUR B. KRIM n 1959 STEVE BROIDY n 1960 JOSEPH E. LEVINE n 1961 ABE MONTAGUE n 1962 MILTON RACKMIL n 1963 DARRYL F. ZANUCK n 1964 HAROLD J. MIRISCH n 1965 ROBERT O’BRIEN n 1966 WILLIAM R. FORMAN n 1967 LEONARD GOLDENSON n 1968 LAURENCE A. TISCH n 1969 HARRY BRANDT n 1970 IRVING H. LEVIN n 1971 SAMUEL Z. ARKOFF & JAMES H . NICHOLSON n 1972 LEO JAFFE n 1973 TED ASHLEY n 1974 HENRY MARTIN n 1975 E. CARDON WALKER n 1976 CARL PATRICK n 1977 SHERRILL C. CORWIN n 1978 DR. JULES STEIN n 1979 HENRY PLITT 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS n 1980 BOB HOPE n 1981 SALAH HASSANEIN n 1982 FRANK PRICE n 1983 BERNARD MYERSON n 1984 SIDNEY SHEINBERG n 1985 JOHN ROWLEY n 1986 MICHAEL FORMAN n 1987 FRANK G. MANCUSO n 1988 JACK VALENTI n 1989 ALLEN PINSKER n 1990 TERRY SEMEL n 1991 SUMNER REDSTONE n 1992 MIKE MEDAVOY n 1993 STANLEY DUR- WOOD n 1994 WALTER DUNN n 1995 ROBERT SHAYE n 1996 SHERRY LANSING n 1997 BRUCE CORWIN n 1998 BUD STONE n 1999 KURT C. HALL n 2000 ROBERT DOWLING n 2001 ROBERT REHME n 2002 JONA- THAN DOLGEN n 2003 MICHAEL EISNER n 2004 ALAN HORN n 2005– 2006 TRAVIS REID n 2007 JEFF BLAKE n 2008 MIKE CAMPBELL n 2009 MARC SHMUGER & DAVID LINDE n 2010 ROB MOORE n 2011 DICK COOK n 2012 JEFFREY KATZENBERG n 2013 KATHLEEN KENNEDY n 2014 TOM SHERAK n 2015 JIM GIANOPULOS n DONNA LANGLEY 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS 2017 PIONEER OF THE YEAR Welcome On behalf of the Board of Directors of the Will Rogers Motion Picture Pioneers Foundation, thank you for attending the 2017 Pioneer of the Year Dinner. -
Pioneer of the Year Presented By
1947 ADOLPH ZUKOR n 1948 GUS EYSSEL n 1949 CECIL B. DEMILLE n 1950 SPYROS P. SKOURAS n 1951 JACK, HARRY & ALBERT WARNER n 1952 NATE BLUMBERG n 1953 BARNEY BALABAN n 1954 SIMON FABIAN n 1955 HERMAN ROBBINS n 1956 ROBERT O’DONNELL n 1957 JOSEPH VOGEL n 1958 ROBERT BENJAMIN & ARTHUR B. KRIM n 1959 STEVE BROIDY n 1960 JOSEPH E. LEVINE n 1961 ABE MONTAGUE n 1962 MILTON RACKMIL n 1963 DARRYL F. ZANUCK n 1964 HAROLD MIRISCH n 1965 ROBERT O’BRIEN n 1966 WILLIAM R. FORMAN n 1967 LEONARD GOLDENSON n 1968 LAURENCE A. TISCH n 1969 HARRY BRANDT n 1970 IRVING H. LEVIN n 1971 SAMUEL Z. ARKOFF & JAMES H. NICHOLSON n 1972 LEO JAFFE n 1973 TED ASHLEY n 1974 HENRY MARTIN n 1975 E. CARDON WALKER n 1976 CARL PATRICK n 1977 SHERRILL C. CORWIN n 1978 DR. JULES STEIN n 1979 HENRY PLITT n 1980 BOB HOPE n 1981 SALAH HASSANEIN WILL ROGERS MOTION PICTURE PIONEERS TH 78 ANNUAL PIONEER OF THE YEAR PRESENTED BY BEVERLY HILTON HOTEL BEVERLY HILLS, CALIFORNIA WEDNESDAY, SEPTEMBER 25, 2019 n 1982 FRANK PRICE n 1983 BERNARD MYERSON n 1984 SIDNEY SHEINBERG n 1985 JOHN ROWLEY n 1986 MICHAEL FORMAN n 1987 FRANK MANCUSO n 1988 JACK VALENTI n 1989 ALLEN PINSKER n 1990 TERRY SEMEL n 1991 SUMNER REDSTONE n 1992 MIKE MEDAVOY n 1993 STANLEY DURWOOD n 1994 WALTER DUNN n 1995 ROBERT SHAYE n 1996 SHERRY LANSING n 1997 BRUCE CORWIN n 1998 BUD STONE n 1999 KURT HALL n 2000 ROBERT DOWLING n 2001 ROBERT REHME n 2002 JONATHAN DOLGEN n 2003 MICHAEL EISNER n 2004 ALAN HORN n 2005–2006 TRAVIS REID n 2007 JEFF BLAKE n 2008 MIKE CAMPBELL n 2009 MARC SHMUGER & DAVID LINDE n 2010 ROB MOORE n 2011 DICK COOK n 2012 JEFFREY KATZENBERG n 2013 KATHLEEN KENNEDY n 2014 TOM SHERAK n 2015 JIM GIANOPULOS n 2016 DONNA LANGLEY n 2017 CHERYL BOONE ISAACS n 2018 TOM CRUISE Hollywood’s Best Starting in 1947, the Foundation of Motion Picture Pioneers has staged an annual fundraising gala honoring a worthy recipient as an industry pioneer. -
DISTINGUISHED Residentsof
DISTINGUISHED 1 RESI D ENTS of Hillside Memorial Park and Mortuary DISTINGUISHED RESIDENTS IRV I NG AA RONSON (1895 – 1963) EV E RL A ST I NG Pea C E Irving Aaronson’s career began at the age of 11 as a movie theater pianist. DISTINGUISHED RE S I D E NTS GU I D E : A LE G A CY OF LE G E NDS In the 1920’s he became a Big Band leader with the Versatile Sextette and Irving Aaronson & the Commanders. The Commanders recorded “I’ll Get By,” Cole Porter’s “Let’s Misbehave,” “All By Ourselves in the Hillside Memorial Park and Mortuary has provided a place to Moonlight,” “Don’t Look at Me That Way” and “Hi-Ho the Merrio.” Irving Aaronson His band included members Gene Krupa, Claude Thornhill and Artie honor the accomplishments and legacies of the Jewish community Shaw. He later worked for MGM as a music coordinator for “Arrivederci Roma” (1957), “This Could Be the Night” (1957), “Meet Me in Las Vegas” since 1942. We have made it our mission to provide southern (1956) and as music advisor for “The Merry Widow” (1952). California with a memorial park and mortuary dedicated to ROSLYN ALF I N –SL A T E R (1916 – 2002) GA RD E N OF SA R A H honoring loved ones in a manner that is fitting and appropriate. Dr. Roslyn Alfin-Slater was a highly esteemed UCLA professor and nutrition expert. Her early work included studies on the relationship between cholesterol and essential fatty acid metabolism. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood's Feature Films to Television Before 1955 Permalink https://escholarship.org/uc/item/14h0461n Author Porst, Jennifer Anne Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Jennifer Anne Porst 2014 © Copyright by Jennifer Anne Porst 2014 ABSTRACT OF THE DISSERTATION Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 by Jennifer Anne Porst Doctor of Philosophy in Film and Television University of California, Los Angeles, 2014 Professor John T. Caldwell, Chair This project is located at the intersection of television and film studies and examines the causes and effects of disruption and convergence in the media industries through a case study of the struggle over Hollywood’s feature films on television before 1955. Since television began broadcasting in earnest in 1948, two years after Hollywood saw its box-office revenues decline precipitously from their all-time high in 1946, the important question to ask becomes: why did it take seven years for Hollywood’s features to make their way to television? Through an investigation of the efforts made by the film and television industries in the 1940s and 1950s to work towards feature films appearing on television, this project concludes that Hollywood’s feature films did not appear on television until 1956, not because of the long held assumptions that the film industry was either apathetic or hostile to the nascent television industry, but rather ii as a result of a complex combination of industrial, social, legal, and governmental forces. -
UNIVERSITY of CALIFORNIA Los Angeles Disruptive Convergence
UNIVERSITY OF CALIFORNIA Los Angeles Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Jennifer Anne Porst 2014 © Copyright by Jennifer Anne Porst 2014 ABSTRACT OF THE DISSERTATION Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 by Jennifer Anne Porst Doctor of Philosophy in Film and Television University of California, Los Angeles, 2014 Professor John T. Caldwell, Chair This project is located at the intersection of television and film studies and examines the causes and effects of disruption and convergence in the media industries through a case study of the struggle over Hollywood’s feature films on television before 1955. Since television began broadcasting in earnest in 1948, two years after Hollywood saw its box-office revenues decline precipitously from their all-time high in 1946, the important question to ask becomes: why did it take seven years for Hollywood’s features to make their way to television? Through an investigation of the efforts made by the film and television industries in the 1940s and 1950s to work towards feature films appearing on television, this project concludes that Hollywood’s feature films did not appear on television until 1956, not because of the long held assumptions that the film industry was either apathetic or hostile to the nascent television industry, but rather ii as a result of a complex combination of industrial, social, legal, and governmental forces. -
DISTINGUISHED RESIDENTS of Hillside Memorial Park 1
DISTINGUISHED RESIDENTS of Hillside Memorial Park 1 D ISTINGUISHE D R ESI D ENTS OF H ILLSI D E M E M O R IAL P A R K 2011 DISTINGUISHED RESIDENTS HILLSIDE MEMORIAL PARK AND MORTUARY DISTINGUISHED RESIDENTS BOOK For over 70 years, Hillside Memorial Park and Mortuary has been dedicated to serving the Southern California Jewish Community and to preserving the memories of those who have been laid to rest within our park. We understand that every person leaves a unique legacy and that the greatest tribute is not grief but gratitude for a life well lived. We are privileged to have been entrusted by so many families over the years. This Distinguished Residents Book features the biographies and photos of some of those individuals whose legacies have impacted our lives 2 and helped to shape our culture and our community. It has been created to honor their memory and to inspire generations by their extraordinary accomplishments, tenacity and philanthropy. There are stars whose brightness is visible on earth although they have long burned out. There are people whose brilliance continues to light the world though they are no longer among the living. These lights are particularly bright when the night is dark. They light the way for us all. Hannah Szenesh HILLSIDE MEMORIAL PARK IRVING AARONSON (1895 – 1963) From his start as an 11-year-old movie theater pianist, Irving Aaronson became a Big Band leader in the 1920s and ‘30s. His band included members Gene Krupa, Claude Thornhill and Artie Shaw. He later worked for MGM as a music coordinator for “Arrivederci Roma” (1957), “This Could Be the Night” (1957), Irving Aaronson “Meet Me in Las Vegas” (1956) and as music advisor for “The Merry Widow” (1952). -
Copyright by Robert Erik Bruce 2009
Copyright by Robert Erik Bruce 2009 The Dissertation Committee for Robert Erik Bruce Certifies that this is the approved version of the following dissertation: Have You No Sense of Decency? Morals Clauses, Communists and the Legal Fight Against Blacklisting in the Entertainment Industry During the Post-War Era Committee: David Oshinsky, Supervisor H.W. Brands George Forgie Glenda Gilmore Mark Lawrence Have You No Sense of Decency? Morals Clauses, Communists and the Legal Fight Against Blacklisting in the Entertainment Industry During the Post-War Era by Robert Erik Bruce, B.A., M.A., J.D. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2009 For My Family Acknowledgements I have been incredibly fortunate to have been mentored by so many talented people. I owe thanks to my advisor, David Oshinsky for his convincing me to come to Austin and for his kind, yet critical, encouragement over the last four and a half years. Thank you also to H.W. Brands whose enthusiasm for history and writing is infectious and who opened my eyes to the joy of archival research. I owe a debt of gratitude to Mark Lawrence for repeated help in improving my writing and to George Forgie for taking the time to critique this project. Thank you to Steve Estes and Steve Bittner for their early encouragement and introduction to history as a profession and to Glenda Gilmore for helping me have faith in myself from early on. -
American Independent Cinema
AMERICAN INDEPENDENT CINEMA AMERICAN INDEPENDENT Films, filmmakers and film companies AMERICAN INDEPENDENT CINEMA examined include: • Cagney Productions and Johnny Come Yannis Tzioumakis Lately, Blood on the Sun and The Time of Your Life • The Charlie Chan series ‘A substantial and insightful examination of the infrastructure • Lomitas Productions, Stanley Kramer and of independent American cinema. This is a true advance on The Defiant Ones, On the Beach and Inherit previous studies and deepens the reader’s understanding of the Wind • Sam Katzman and Rock Around the Clock how independent films get made and distributed. For this • Roger Corman and The Wild Angels reason the book will be an invaluable addition to the literature • John Cassavetes and Shadows on Independent American Cinema.’ • Dennis Hopper and The Last Movie Professor Warren Buckland, Editor of The New Review of Film • American International Pictures and Foxy and Television Studies Brown • John Sayles and Return of the Secaucus Seven This introduction to American independent cinema offers • Filmhaus Productions, David Mamet and both a comprehensive industrial and economic history of the House of Games sector from the early twentieth century to the present and a • Steven Soderbergh and sex, lies, and study of key individual films, filmmakers and film companies. videotape Readers will develop an understanding of the complex • Kevin Smith and Clerks • Monogram, Republic Pictures and dynamic relations between independent and mainstream Producers Releasing Corporation American cinema. • William Castle Productions, Embassy Pictures, New World Pictures, Dimension The main argument revolves around the idea that independent and Crown International American cinema has developed alongside mainstream • Orion Pictures Hollywood cinema with institutional, industrial and economic • The Sundance Film Institute changes in the latter shaping and informing the former. -
The 46 Th Annual Academy Awards Pre&Entation
The 46 th Annual Academy Awards Pre&entation • On the night of April 2, 1974, an estimated 76,000,000 television viewers throughout the United States gathered expectantly in front of their receivers to watch the telecast, over the NBC Television Network, of Hollywood's Big Night—that night on whichi the artists and artisans of the motion picture industry gather annually to honor their own. • In addition to its beaming to the millions in America, the 46th ANNUAL ACADEMY AWARDS PRESENTA- TION was made available live or on a delayed broadcast basis in 17 locales outside the continental United States. The ceremonies, which took place in the plush Dorothy Chandler Pavilion of the Los Angeles Music Center, were carried live by Australia, Brazil, Canadla, Mexico, Venezuela, Puerto Rico and St. Thomas. Delayed-basis telecasts were seen in Colombia, Hong Kong, South Korea, Taiwan, the Philippines, New Zealand, Spain, Nicaragua, El Salvador and Peru. Also, the show was transmitted to Unilted States servicemen statiomed in for- eign lands via Armed Forc- Page design ai by JAY K sands of fans, many of whom had been' waiting in the bleachers since dawn, cheered and applauded their favorites of the silver screen. The lavishly staged Awards Presenta- tion program lasted more than three hours (the longest ever) and was high- lighted by ambitious musical production numbers, film clips from pictures and the extra-curricular performance of a "streaker", who enlivened that portion of the program considerably and man- aged to unnerve the usually unflappable Elizabeth Taylor. Outside the Dorothy Chandler Pavil- ion, star-struck fans had been gathering since dawn and the 3,000 bleacher seats were filled hours before the event, with several hundred more people thronging the sidewalk across the street. -
Poverty Row Films of the 1930S by Robert J Read Department of Art History and Communication Studies
A Squalid-Looking Place: Poverty Row Films of the 1930s by Robert J Read Department of Art History and Communication Studies McGill University, Montreal August 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy All rights reserved. This work may not be reproduced in whole or in part, by photocopy or by other means, without permission of the author. Robert J Read, 2010. ii Abstract Film scholarship has generally assumed that the low-budget independent film studios, commonly known as Poverty Row, originated in the early sound-era to take advantage of the growing popularity of double feature exhibition programs. However, the emergence of the independent Poverty Row studios of the 1930s was actually the result of a complex interplay between the emerging Hollywood studios and independent film production during the late 1910s and 1920s. As the Hollywood studios expanded their production, as well as their distribution networks and exhibition circuits, the independent producers that remained outside of the studio system became increasingly marginalized and cut-off from the most profitable aspects of film exhibition. By the late 1920s, non-Hollywood independent film production became reduced to the making of low-budget action films (westerns, adventure films and serials) for the small profit, suburban neighbourhood and small town markets. With the economic hardships of the Depression, the dominant Hollywood studios were forced to cut-back on their lower budgeted films, thus inadvertently allowing the independent production companies now referred to in the trade press as Poverty Row to expand their film practice. -
Ralph Edwards Productions Production Records PASC.0336
http://oac.cdlib.org/findaid/ark:/13030/kt767nf2nr No online items Finding Aid for the Ralph Edwards Productions production records PASC.0336 UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2020 July 27. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Ralph Edwards PASC.0336 1 Productions production records PASC.0336 Contributing Institution: UCLA Library Special Collections Title: Ralph Edwards Productions production records Creator: Ralph Edwards Productions Identifier/Call Number: PASC.0336 Physical Description: 156.5 Linear Feet(313 boxes) Date (inclusive): 1940-circa 2001 Abstract: The collection consists of materials pertaining to the various Ralph Edwards Productions projects such as Truth or Consequences , This is Your Life, and Name That Tune . Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.