On the History and Ideology of Film Lighting Peter Baxter During The
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• ASC Archival Photos
ASC Archival Photos – All Captions Draft 8/31/2018 Affair in Trinidad - R. Hayworth (1952).jpg The film noir crime drama Affair in Trinidad (1952) — directed by Vincent Sherman and photographed by Joseph B. Walker, ASC — stars Rita Hayworth and Glenn Ford and was promoted as a re-teaming of the stars of the prior hit Gilda (1946). Considered a “comeback” effort following Hayworth’s difficult marriage to Prince Aly Khan, Trinidad was the star's first picture in four years and Columbia Pictures wanted one of their finest cinematographers to shoot it. Here, Walker (on right, wearing fedora) and his crew set a shot on Hayworth over Ford’s shoulder. Dick Tracy – W. Beatty (1990).jpg Directed by and starring Warren Beatty, Dick Tracy (1990) was a faithful ode to the timeless detective comic strip. To that end, Beatty and cinematographer Vittorio Storaro, ASC, AIC — seen here setting a shot during production — rendered the film almost entirely in reds, yellows and blues to replicate the look of the comic. Storaro earned an Oscar nomination for his efforts. The two filmmakers had previously collaborated on the period drama Reds and later on the political comedy Bullworth. Cries and Whispers - L. Ullman (1974).jpg Swedish cinematographer Sven Nykvist, ASC operates the camera while executing a dolly shot on actress Liv Ullman, capturing an iconic moment in Cries and Whispers (1974), directed by friend and frequent collaborator Ingmar Bergman. “Motion picture photography doesn't have to look absolutely realistic,” Nykvist told American Cinematographer. “It can be beautiful and realistic at the same time. -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
Sparrows (1926)
Sparrows (1926) Closing Night Gala: Sunday 21 March 2021 Music composed by: Taylor and Cameron Graves Sparrows, released in 1926, marks the final time Mary Pickford plays a youngster on the big screen and it was her next to last silent film. She was 33 years old and had already starred in 40 features and more than 100 short films. Over the 17 years she had been making movies, she had become a creative producer, a savvy businesswoman and the highest paid and best-known actress in the world. She was also one of the hardest working people in the business. Between 1912 and 1919, Pickford jumped between a variety of studios, increasing her paychecks astronomically each time until she risked it all to produce her own movies and join with Douglas Fairbanks, D.W. Griffith and Charlie Chaplin to form United Artists to distribute them. She married Fairbanks in 1920 and they ruled the filmmaking world from their Beverly Hills home dubbed Pickfair. They built their own Pickford Fairbanks studio on Santa Monica Blvd and on those 18 acres, they each had their administration offices as well as crew and craftsmen to write, direct and film their movies. Mary had her own bungalow where Doug often joined her for lunch and they came to the studio together in the morning and went home – often very late – together at night. Only a few months before deciding on Sparrows, Mary’s portion of the lot had been a turn of the century, New York tenement for her film Little Annie Rooney. -
Tom Watson's Magazine [Serial]
TOM WATSON'S MAGAZINE °'^= '='' MONTHLY I I °°';J-^'' '^/ViLEO€^* TOM WATSON'S MAGAZINE 121 West 42nd Street New York ABRAHAM LINCOLN was the radical of his day. Many of the views expressed in his letters and speeches would strike a " good Republican ** of today as extremely radical. ARE YOU ACQUAINTED with the great commoner's views on political and religious liberty, on alien immi- gration, on the relation of labor and capital, on the colonization of negroes, on free labor, on lynch law, on the doctrine that all men are created equal, on the importance of young men in politics, on popular sovereignty, on woman suffrage? All of his views are to be found in this edi- tion of "LINCOLN'S LETTERS AND AD- DRESSEES," the first complete collection to be pub- lished in a single volume. Bound in an artistic green crash cloth, stamped in gold. Printed in a plain, readable type, on an opaque featherweight paper. For $ 1 .45, sent direct to this office, we will en- ter a year's subscription to TOM WATSON'S MAGAZINE and mail a copy of LINCOLN'S LETTERS AND ADDRESSES, postage pre- paid. This handsome book and a dollar magazine—both for only $ 1 .45. Send today. Do it now. TOM WATSON'S MAGAZINE 121 West 42cl St., New York City !^\»^ TOM WATSON'S MAGAZINE THE MAGAZINE WITH A PURPOSE BACK OF IT October, 1905 Editorials Thomas E. Watson 385 In the Mountains— Tolstoy and the Land—For Sale: A Policy in the Equitable — A Day in the Autumn Woods — Editorial Comment Are Treasury Reports Reliable? . -
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. -
CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student. -
Founders Journal from Founders Ministries | Spring 2012 | Issue 88
FOUNDERS JOURNAL FROM FOUNDERS MINISTRIES | SPRING 2012 | ISSUE 88 WATCHING OVER THE FLOCK AND THE SHEPHERD Contents The Editorial Introduction 1 Founders Tom Ascol Thomas Watson As Pastor and Scholar 3 Bruce Ware Journal Committed to historic Baptist principles A Sermon to Preachers 22 B. H. Carroll Issue 88 Spring 2012 Horatius Bonar and the Search for Rest 38 John Y. May Select Hymns of Horatius Bonar 41 News 2 Watching Over the Flock And the Shepherd CONTRIBUTORS: Dr Tom Ascol is Senior Pastor of Grace Baptist Church in Cape Coral, FL and author of the Founders Ministries Blog: http://blog.founders.org/ B. H. Carroll (1843–1914) was the founding president of Southwestern Baptist Teo- logical Seminary in Fort Worth, TX. Chris Lee is a graduate of Union Univerity and an MDiv student at Te Southern Baptist Teological Seminary in Louisville, KY. John Y. May. lives in Lancaster, PA and is a graduate of the University of Pittsburgh. Cover photo: “Welsh Landscape” by William Lollar TheFounders Journal Editor: Thomas K. Ascol Associate Editor: Tom J. Nettles Design Editor: Kenneth A. Puls Contributing Editors: Bill Ascol, Timothy George, Fred Malone, Joe Nesom, Phil Newton, Don Whitney, Hal Wynn. The Founders Journal is a quarterly publication which takes as its theological framework the first recognized confession of faith which Southern Baptists produced, The Abstract of Principles. The journal is now only available as a digital download. It can be downloaded in either ePUB or mobi format from our online store (for $1.99 each): www.founderspress.com Please send all inquiries and correspondence to: [email protected] Or you may write to: )/(,-5 )/,(&5R5885)25gkfoig5R5*5),&65 5iiogk Or contact us by phone at (239) 772-1400 or fax at (239) 772-1140. -
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. -
The Zoomar Lens J
tint, or half shadow, and the rest may go too clearly defined. A net over a certain '., black. This · postulate we may use as a portion of the camera lens might do it. ' medium. Varying the proportions will Perhaps we might employ the vignette The Zoomar Lens J control the effects we may be creating. for only a portion of the scene. Rem The Handling of Quality Elements brandt used this aid extensively. Leav In dealing with shadow as an element ing something to the imagination, he G. Back, M. E., Sc. D. the fact found, gave his pictures a quality few ' By Fran~ of our scene, we must recognize that irr interior motion pictures we build artists were able to duplicate in paint (Research and Development Laboratory, New York) our scene from a completely unlighted ing. back ground. This is an opposite method 4. Repose to that employed in most of the graphic Another element which promotes emo Distance Range: 8 ft. to inf. arts. It resembles wood cuts and their tion is that of repose. The word sug HE Zoomar varifocal lens was for 35 mm. film is still in the labora 120 mm. - very ( Close-up Attachment for Wide-Angle manufacture; we carve out of blackness gests good taste. It suggests the removal first demonstrated in public at the tory stage but will be available It demands that T Front-Lens permits shooting at any with our spotlights those parts of the of too sharp contrast. Spring Convention of the S.M.P.E. soon. ·, specified distance· down to 2 inches, scene from which we derive an exposure. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
Escala En Buenos Aires: Los Primeros Años De John Alton En El Cine Argentino
149 Escala en Buenos Aires: los primeros años de John Alton en el cine argentino Por Iván Morales* Resumen: El siguiente artículo estudia los primeros años de John Alton en el cine argentino, donde se desempeñó como director de fotografía entre 1932 y 1939. Alton nació en el Imperio austrohúngaro, se formó en Hollywood durante los años veinte, a fines de esa década viajó a Europa para ocuparse de los estudios que Paramount tenía en Francia, trabajó brevemente como camarógrafo de exteriores en países de Asia y África, y finalmente llegó a la Argentina, donde permaneció durante siete largos años hasta que regresó a Hollywood definitivamente. El primer aspecto que desarrollaré es la cultura viajera de John Alton y su llegada a Buenos Aires. En segundo lugar, analizaré el rol clave que tuvo Alton en la consolidación de una joven cinematografía nacional que aspiraba a convertirse en industria. A partir de su paso por el proyecto cosmopolita de la productora SIFAL, trabajaré con la película Escala en la ciudad (Alberto de Zavalía, 1935) para dar cuenta de cómo su fotografía implicó una modernización técnica y estética inédita para el cine argentino. Palabras clave: John Alton, dirección de fotografía, cine argentino, film noir. Resumo: Este artigo estuda os primeiros anos de John Alton no cinema argentino, onde atuou como diretor de fotografia entre 1932 e 1939. Alton nasceu no Império Austro-Húngaro, se formou em Hollywood durante os anos 1920, no final dessa década viajou à Europa para trabalhar nos estúdios que a Paramount tinha na França, trabalhou brevemente como cinematografista de exteriores em países da África e da Ásia e, finalmente, chegou à Argentina, onde permaneceu durante sete anos até regressar a Hollywood definitivamente. -
Sunrise: a Song of Two Humans (1927) F.W
August 27, 2002 (VI:1) Conversations about great films with Diane Christian & Bruce Jackson SUNRISE: A SONG OF TWO HUMANS (1927) F.W. MURNAU (Friedrich Wilhelm Plumpe, 28 December 1888, Bielefeld, North- Rhine-Westphalia, Germany—11 March 1931, Santa Barbara, California, road George O'Brien…The Man accident) made 18 of his 22 films in Germany. Of those he is perhaps best known Janet Gaynor…The Wife for Nosferatu, eine Symphonie des Grauens (Nosferatu the Vampire, Nosferatu, a Margaret Livingston…The Symphony of Horror, 1922). His last film, made shortly before his death, was Tabu, a Woman from the City Story of the South Seas 1931. Murnau was a genius at mood, particularly gloomy Bodil Rosing…The Maid and scary mood, and he frequently focused his camera or monsters or people at J. Farrell MacDonald…The the periphery. Photographer Ralph Sipperly…The Barber GEORGE O'BRIEN (19 April 1900, San Francisco—4 September 1985, Tulsa, Oklahoma) appeared in 84 films from White Hands in 1922 to Cheyenne Autumn in Jane Winton…The Manicure Girl 1964. In the 1930s and 1940s he acted in dozens of unmemorable westerns and Arthur Housman…The Obtrusive crime films with such titles as Bullet Code 1940, The Marshal of Mesa City 1939, The Gentleman Fighting Gringo 1939, Racketeers of the Range 1939, Lawless Valley 1938, The Renegade Eddie Boland…The Obliging Ranger 1938, Border G-Men 1938, Frontier Marshal 1934, The Gay Caballero 1932, and Gentleman Riders of the Purple Sage 1931. He was also in three memorable John Ford films in Barry Norton…Dancer the 1940s: She Wore a Yellow Ribbon 1949, Fort Apache 1948, and, as the narrator, December 7th 1943.