DOCSLIB.ORG

Hollywood on the Hudson Surveys New York's Role In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hollywood on the Hudson Surveys New York's Role In HOLLYWOOD ON THE HUDSON SURVEYS NEW YORK’S ROLE IN THE ESTABLISHMENT OF MODERN AMERICAN FILMMAKING BETWEEN THE TWO WORLD WARS Hollywood on the Hudson: Filmmaking in New York, 1920–39 September 17 - October 19, 2008 The Roy and Niuta Titus Theaters New York, September 11, 2008—Hollywood on the Hudson: Filmmaking in New York, 1920- 1939, a month-long exhibition that showcases New York City’s seminal yet rarely recognized role in the establishment of the modern American film industry between the two world wars, is presented at The Museum of Modern Art, from September 17 through October 19, 2008. More than 25 feature films and many shorts, including early sound films—musicals, comedies, animated films, and documentaries—offer a survey of filmmaking in New York during the hegemony of Hollywood, from D. W. Griffith’s return from the West Coast in 1919 to the World’s Fair of 1939. Screenings include pioneering sound films shot at the Paramount Studios in Astoria, Queens, and performances by Broadway luminaries such as Louise Brooks, Marion Davies, the Marx Brothers, Gloria Swanson, and Rudolph Valentino. Hollywood on the Hudson is co-organized by Laurence Kardish, Senior Curator, Department of Film, The Museum of Modern Art; and Richard Koszarski, on whose book, Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff (Rutgers University Press, 2008), the exhibition is based. The exhibition recalls a point during which an industry built on centralized authority began to listen, for the first time, to a range of independent voices in cinema, each with their own ideas about what the movies could say and do. Prior to the 1920s, the Hollywood studio system was geared toward creating a standardized product and sought to appeal to all ages and classes, whereas New York cinema was technically innovative and culturally specific, and played to niche audiences, from art houses to ethnic enclaves. The collapse of Hollywood’s economic and industrial model in the post-World War I era soon forced American filmmakers to rethink the way they made films and sold them to audiences. Finding they could no longer depend on a system that required long-term contracts and studio backlots with elaborate standing sets, they began to adopt the methods being used by writers, directors, and actors in New York. New York makes its indelible mark in such films as While New York Sleeps (1920), which was shot at the new Fox studio on West 55th Street and made extraordinary use of the city’s locations; D.W. Griffith’s The Struggle (1931), an independent production shot at the old Edison studio in the Bronx and in the surrounding neighborhood; and Monsieur Beaucaire (1924), a romantic costume drama that uses its Astoria, Queens, location as an artful riposte to the frivolities that Rudolph Valentino and his wife, Natacha Rambova, felt had been forced on him in Hollywood. In Paradise in Harlem (1939), Joseph Seiden’s fable about a black vaudevillian who dreams of bringing Shakespeare to the Harlem stage, and Murder in Harlem (1935), Oscar Micheaux’s transportation of the notorious Leo Frank case to Harlem, New York is featured as an indispensable element of the films themselves. Yet New York’s studios and soundstages were also used at this time to portray other locales as well, including Hollywood in such films as Mark Sandrich’s The Talk of Hollywood (1929), which was made at the Gramercy Studio on Twenty- fourth Street. Hollywood on the Hudson also calls attention to the diversity of filmmaking from the New York studios to independent filmmakers and producers who made Yiddish films, race films, Spanish films, and Italian films, not only for exporting but also for the city’s many immigrant communities. Carlos Gardel, creator of the genre of tango vocal movies, made four Spanish- language musicals in Astoria for Paramount release, including El Tango en Broadway (1934). Cuore d’emigrante (1932), directed by Harold Godsoe, in which a family confronts the consequences of their immigration to America, was produced in Fort Lee, NJ, for Italian-American audiences, while Tevye (1939), directed by Maurice Schwartz, is a bittersweet Yiddish tale in which the lessons of the past are projected onto an uncertain present. No. 103 Press Contact: Margaret Doyle, (212) 408-6400, [email protected] For downloadable images, please visit www.moma.org/press Public Information: The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019 Hours: Wednesday through Monday: 10:30 a.m.-5:30 p.m. Friday: 10:30 a.m.-8:00 p.m. Closed Tuesday Museum Adm: $20 adults; $16 seniors, 65 years and over with I.D.; $12 full-time students with current I.D. Free, members and children 16 and under. (Includes admittance to Museum galleries and film programs) Target Free Friday Nights 4:00 p.m.-8:00 p.m. Film Adm: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only) Subway: E or V train to Fifth Avenue/53rd Street Bus: On Fifth Avenue, take the M1, M2, M3, M4, or M5 to 53rd Street. On Sixth Avenue, take the M5, M6, or M7 to 53rd Street. Or take the M57 and M50 crosstown buses on 57th and 50th Streets. The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org 2 SCREENING SCHEDULE Hollywood on the Hudson: Filmmaking in New York, 1920–39 Wednesday, September 17 6:15 The Green Goddess. 1923. Directed by Sidney Olcott. Based on the play by William Archer. With George Arliss, Alice Joyce, David Powell. Imperial British resolve confronts the implacable Rajah of Rukh in the most successful of the six silent features made in New York with George Arliss. Filmed at the Bronx Biograph studio. Courtesy UCLA Film and Television Archive. Silent, with musical accompaniment. Approx. 90 min. 8:15 Dr. Jekyll and Mr. Hyde. 1920. Directed by John Robertson. Based on the novella by Robert Louis Stevenson. With John Barrymore, Martha Mansfield, Louis Wolheim. Barrymore’s breakthrough film performance (and his thirteenth feature in seven years) was shot at Paramount’s Amsterdam Opera House studio on West Forty-fourth Street. George Eastman House, Motion Picture Collection. Silent, with musical accompaniment. Approx. 91 min. Thursday, September 18 6:15 Love ‘Em and Leave ‘Em. 1926. Directed by Frank Tuttle. Based on a play by John Weaver, George Abbott. With Evelyn Brent, Louise Brooks, Osgood Perkins. A striking vision of life in the modern city, skillfully handled by one of the Paramount Astoria Studio’s hottest young directors. Evelyn Brent stars as an industrious Manhattan shop girl, but Louise Brooks steals the show as her guileless, amoral sister. Silent, with musical accompaniment. Approx. 80 min. 8:15 Enchantment. 1921. Directed by Robert Vignola. Based on a story by Frank R. Adams. With Marion Davies, Forrest Stanley. Although Davies is better known today for her costume epics, this updated edition of The Taming of the Shrew is far more typical of the films she made in New York. Joseph Urban’s stylish production design may be the first appearance of European modernism in an American feature. Courtesy The Library of Congress. Silent, with musical accompaniment. Approx. 75 min. Friday, September 19 6:15 While New York Sleeps. 1920. Directed by Charles Brabin. With Estelle Taylor, Marc McDermott, Harry Southern. Shot at the new Fox studio on West Fifty-fifth Street (and with extraordinary use of New York locations), this pre-noir dramatic anthology reveals the duplicity and corruption behind the public face of the world’s greatest city. Silent, with musical accompaniment. Approx. 65 min. 8:15 The Letter. 1929. Directed by Jean De Limur, Monta Bell. Based on the play by W. Somerset Maugham. With Jeanne Eagles, Reginald Owen, Herbert Marshall. The Bette Davis-William Wyler remake of 1940 may be better cinema, but Jeanne Eagles’s Oscar-nominated performance in this version--the first talking feature made in New York-- remains electrifying. Courtesy The Library of Congress. Silent, with musical accompaniment. 65 min. Saturday, September 20 3 6:15 Dr. Jekyll and Mr. Hyde. See Wednesday, September 17, 8:15. 8:15 The Green Goddess. See Wednesday, September 17, 6:15. Sunday, September 21 2:00 Way Down East. 1920. Directed by D. W. Griffith. Based on a play by Lottie Blair Parker. With Lillian Gish, Richard Barthelmess, Lowell Sherman. When Griffith abandoned Hollywood in 1919, he chose this classic melodrama, filmed at his new studio in Mamaroneck, with extensive location shooting on frozen Vermont landscapes and the treacherous ice floes of White River Junction to announce his return to filmmaking. Silent, with musical accompaniment by Joanna Seaton (vocals) and Donald Sosin (synthesizer). Approx. 150 min. 5:00 The Struggle. 1931. Directed by D. W. Griffith. Written by John Emerson, Anita Loos. With Hal Skelly, Zita Johann, Evelyn Baldwin. An independent production shot at the old Edison studio in the Bronx (and on the streets of the local neighborhood), Griffith’s last film charts a young family’s harrowing destruction through poverty and alcoholism. 87 min. Wednesday, September 24 6:45 Love ‘Em and Leave ‘Em. See Thursday, September 18, 6:15. Thursday, September 25 6:00 Janice Meredith. 1924. Directed by E. Mason Hopper. With Marion Davies, Holbrook Blinn, Harrison Ford. Featuring spectacular decor by an uncredited Everett Shinn, William Randolph Hearst’s version of the American Revolution is surprisingly funny look for W. C. Fields in a bit part and has Marion Davies turning up at all the right moments.
Load more

Recommended publications
  • “Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
    مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان.
    [Show full text]
  • Cinema and Sexuality in Ann-Marie Macdonald's Fall on Your Knees
    Document generated on 10/01/2021 3:59 p.m. Studies in Canadian Literature / Études en littérature canadienne Screening Modernity: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees Candida Rifkind Volume 27, Number 2, Fall 2002 Article abstract In Fall on Your Knees, Ann-Marie MacDonald writes early twentieth-century URI: https://id.erudit.org/iderudit/scl27_2art02 Cape Breton and New York through attention to the popular culture of the era, particularly in aspects of the visual, including paintings, photographs, and See table of contents films. Just as the female characters trangress boundaries between normative and queer sexuality, so too the text offers an aesthetic queering of the boundaries between representational media. The representations of 1920s film Publisher(s) star Louise Brooks, particularly, guide readers to a supplemental set of cultural meanings carried by her image and to a recognition that representation, like The University of New Brunswick history, is always partial. ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Rifkind, C. (2002). Screening Modernity:: Cinema and Sexuality in Ann-Marie MacDonald’s Fall On Your Knees. Studies in Canadian Literature / Études en littérature canadienne, 27(2), 29–50. All rights reserved © Management Futures, 2002 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal.
    [Show full text]
  • Nancy Wilson Ross
    Nancy Wilson Ross: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Ross, Nancy Wilson, 1901-1986 Title: Nancy Wilson Ross Papers Dates: 1913-1986 Extent: 261.5 document boxes, 12 flat boxes, 18 card boxes, 7 galley folders (138 linear feet) Abstract: The papers of this American writer encompass her entire literary career and include manuscript drafts, extensive correspondence, and subject files reflecting her interest in Eastern cultures. Call Number: Manuscript Collection MS-03616 Language: English Access Open for research Administrative Information Acquisition Purchase, 1972 (R5717) Provenance Ross's first shipment of materials to the Ransom Center accompanied her husband Stanley Young's papers, and consisted of Ross's literary output to 1975, including manuscripts, publications, and research materials. The second, posthumous shipment contained manuscripts created since 1974, and all her correspondence, personal, and financial files, as well as files concerning the estate of Stanley Young. Processed by Rufus Lund, 1992-93; completed by Joan Sibley, 1994 Processing note: Materials from the 1975 and 1986 shipments are grouped following Ross's original order, with the exception of pre-1970, special, and current correspondence which were interfiled during processing. An index of selected correspondents follows at the end of this inventory. Repository: Harry Ransom Center, The University of Texas at Austin Ross, Nancy Wilson, 1901-1986 Manuscript Collection MS-03616 2 Ross, Nancy Wilson, 1901-1986 Manuscript Collection MS-03616 Biographical Sketch Nancy Wilson was born in Olympia, Washington, on November 22, 1901. She graduated from the University of Oregon in 1924, and married Charles W.
    [Show full text]
  • From Caligari to Hilter Certification.Docx.Pdf
    AGE CLASSIFICATION REQUEST 2016 Belmont Filmhouse , 49 Belmont Street , Aberdeen FROM CALIGARI TO HITLER SYNOPSIS From Caligari to Hitler Von Caligari zu Hitler Rüdiger Suchsland / Germany 2015 / 1h58min / German with English subtitles FROM CALIGARI TO HITLER is a documentary on film making in the Weimar Republic. It takes a look back at the most memorable films produced during that time. The film includes commentary bits by film scholars as well as contemporary filmmakers. The Weimar Republic, between 1918 and 1933, was the most free and liberal state on German soil – a wild epoch, shaped by political change, economic crisis and cultural lustre. It also was an important time for German film. A time full of wonder and ideas. Film in the Weimar Republic gave rise to aesthetic elements like leitmotifs, archetypes and the term genre – that still have an influence on cinema today. Weimar directors like Murnau, Lang, Lubitsch, Pabst, Sternberg, Wilder and Ruttmann rose to become legends. Their movies made stars like Marlene Dietrich, Louise Brooks, Emil Jannings and Conrad Veidt go down in cinema history. The Weimar Republic produces a variety of iconic films like Nosferatu, The Cabinet of Dr. Caligari, Metropolis or People on Sunday. Trailer (German): https://www.youtube.com/watch?v=1hg_vL6lQ6I Page 1 SUGGESTED RATING UTILISING BBFC GUIDELINES PG DISCRIMINATION None DRUGS There are some clips used of people drinking Champagne HORROR Some of the clips used are from Weimar horror films,. You see some horror characters, but there is nothing too explicit. IMITABLE BEHAVIOUR None LANGUAGE Most of the clips used are from silent German films.
    [Show full text]
  • Hartmann S International Directory of Psychic Science and Spiritualism
    Hartmann s International Directory of Psychic Science and Spiritualism 1931 THE ONLY BOOK OF ITS KIND IN THE WORLD Edited by WILLIAM C. HARTMANN Author of " Who's Who in O ccultism etc. Member, American Society for Psychical Research; Member, National Laboratory of Psychical Research (London); Founder, The Survival League of America. SECOND EDITION Issued Under the Auspices of The Survival League of America PRICE, $1.00 THE OCCULT PRESS Jamaica, N. Y. U. S. A. Copyright. 1931 ’'a ' 1 ..Mil till CONTENT S Abbreviations ......................... 2 Meetings and Church Services....... 69 Advertising, Classified .............. 157 National Societies .................... 130 Advertising, Display .................. 159 Periodicals .............................121 Alexander, His Imperial Highness, Photographs of Churches.............. 88 The Grand Duke of Russia.........154 Portrait Register ......................109 Application Form, Survival League of Professional Register ................ 67 America .............................. 185 Prominent Societies, United States... 130 Books, Advertisements of............. 162 Prominent Societies, Other Countries.136 Books, Recent, Received...............149 Publishers ..............................113 Books, For Sale........................ 153 Psychic Science Comes Into Its Own.. 92 Books Worth Reading............... ..151 Reading Rooms ........................105 Catalogue of Books (Announcement). 4 Recent Books Received................149 Camps, Spiritualist ................... 89 Services, Churches,
    [Show full text]
  • Das Exotische, Das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text Von: Nadine Aldag
    Das Exotische, das Gewagte. Filmplakat: DIE BÜCHSE DER PANDORA Text von: Nadine Aldag Filmplakat #1 Filmplakat #2 Diversität in und um DIE BÜCHSE DER PANDORA (DE 1929) Ein schwebender Frauenkopf, ein intensiv starrender Blick, der direkt in die Seele des Betrachters hineinzuschauen scheint, das Abwenden nahezu unmöglich macht. Wunderschön, unschuldig und mysteriös zugleich, wirkt diese Frau. Das schwarze, kurze Haar, welches ihrem Gesicht einen strengen Rahmen verleiht – unverkennbar. DIE BÜCHSE DER PANDORA hebt sich in strahlenden Buchstaben von dem einfachen, dunklen Hintergrund ab. Das Uraufführungsplakat des Films DIE BÜCHSE DER PANDORA aus dem Jahr 1929, entworfen von dem ungarischen Plakatdesigner Josef Bottlik, welcher u.a. auch für die berühmten Plakate zu METROPOLIS (DE 1927) verantwortlich war, zählt heute wohl zu einem der ikonischen Filmplakate der Filmgeschichte. Gezeigt wird so wenig - gesagt wird so viel. Der Fokus liegt, genau wie in der Story des 1 Films, auf einer Frauenfigur, auf „Lulu“ – gespielt von Louise Brooks - Aber was genau ihr Blick uns sagen will, ist ein Rätsel – genau wie die Figur selbst. Die Figur der Lulu, war im Deutschland der 1920er Jahre in aller Munde, ein fester Bestandteil der damaligen Populärkultur. Frank Wedekind, einer der meistgespielten Dramatiker seiner Epoche, veröffentlichte im Geburtsjahr des Kinos, 1895, eine Tragödie in vier Aufzügen mit dem Titel ERDGEIST und dann 1902 die Tragödie DIE BÜCHSE DER PANDORA, welche zusammen die Lulutragödie bildeten und augenblicklich zu Klassikern avancierten. Sie gilt als Wedekinds Hauptwerk. Thematisiert wird im ersten Teil der gesellschaftliche Aufstieg der Lulu, eines selbstbestimmten Mädchens mit progressiven Moralvorstellungen und einem Hang zur Freizügigkeit. In DIE BÜCHSE DER PANDORA wird darauf ihr Fall portraitiert und Lulu als „weibliches Triebwesen“ charakterisiert, an dem alle bürgerlichen und gesellschaftlichen Konventionen zerbrechen.
    [Show full text]
  • Spf-Vwcaul A
    DEC. 3, 1932_ THE INDIANAPOLIS TIMES PAGE 5 HAYDN BICENTENNIAL CONCERT TO BE GIVEN TUESDAY Clara Bow, After a Long Absence, Returns to the Talking Indianapolis Saengerbund Will Give Its First Program of # Screen at the Apollo in Tiffany Thayer’s Greatly R| <*■ ->i _. the Current Season Sunday Afternoon at Knights Discussed ‘Call Her Savage.’ nt Wx 4- j of Columbus Auditorium. ‘/'NALL HER SAVAGE," Clara Bow’s long-awaited starring picture second concert of the Indianapolis Symphony orchestra will be v-4 *or Fox 1* current 44 the attraction at the Apollo theater, where at hall it wijl for THEheld Tuesday night, Dec. 6. Caleb Mills at 8:30 o'clock. remain a limited engagement. Ors occasion, will The photoplay this the orchestra celebrate the bicentennial of new is said to bring a new, more poised, dignified Franz Joseph Haydn, and will be assisted and emotional star for the delight of her by the Haydn festival chorus, countless fans. under direction of Elmer A. Steffen. As Nasa, dynamic heroine of Tiffany Thayer’s Bow drama. Miss Last summer, Mrs. Frank Cregor. president of the Matinee Musicale, touches every human emotion in what is reputed to be the Strongest screen story of her career. conceived the idea of the Haydn festival, and quickly won enthusiasts §* to her cause. With a background of elaborate settings and an all-featured cast IBjPB| Miss Bow discards the flapperisms made J 8 tft Members of the Matinee Musicale Chorale comprise a large part of that portrays hL her famous, and a tensely-dramatlc role and depicts the chorus composed also of members from church choirs and high the rich emotionalism of mother school choruses.
    [Show full text]
  • Mayjune 2005 Social Ed.Indd
    Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying.
    [Show full text]
  • Premiere-Passion-Dospress.Pdf
    2 À la recherche de From the Manger to the Cross le chaînon manquant entre 1000 ans de peinture religieuse et 100 ans de représentation du Christ au cinéma PREMIÈRE PASSION documentaire / 1 x 54’ / 2010 un film écrit et réalisé par Philippe Baron avec les voix de Catherine Riaux / Gilles Roncin conseiller historique Michel Derrien documentaliste Mirabelle Fréville image Philippe Elusse / Philippe Baron / Fabrice Richard / Christophe Cocherie son Pierrick Cohéléach montage Stéphanie Langlois design sonore Yan Volsy mixage Mathieu Tiger musique originale Yan Volsy / Bertrand Larmet direction de production Sabine Jaffrennou / Aurélie Angebault administration de production Valérie Malavieille produit par Jean-François Le Corre producteurs associés Mathieu Courtois / Serge Bromberg une coproduction Vivement Lundi ! / Blink Productions / Télénantes / AVRO avec la participation de CinéCinéma / France Télévisions Corse ViaStella / CNC / Région Bretagne / Région Pays de la Loire / Procirep / Angoa / Programme MEDIA de l’Union Européenne 3 Résumé remière vie de Jésus au cinéma, From the Manger to the Cross (De la crèche à la croix) est la seule P Passion jamais tournée sur les lieux mêmes décrits par les Evangiles, en Palestine. Ce tournage-là fut une véritable épopée : 18 760 kilomètres parcourus dans des paquebots de toutes tailles, plus de 5 100 miles en train et des centaines à dos d’ânes, de chameaux ou de chevaux ; scènes d’hystérie quand un Christ portant sa croix se promène dans les rues de Jérusalem, attaque de brigands… Le film, 4e long métrage de l’histoire du cinéma diffusé il y a presque un siècle, fut un succès commercial. Pourtant, tout le monde a oublié le nom de son auteur : Sidney Olcott.
    [Show full text]
  • Irish Film Institute What Happened After? 15
    Irish Film Studyguide Tony Tracy Contents SECTION ONE A brief history of Irish film 3 Recurring Themes 6 SECTION TWO Inside I’m Dancing INTRODUCTION Cast & Synopsis 7 This studyguide has been devised to accompany the Irish film strand of our Transition Year Moving Image Module, the pilot project of the Story and Structure 7 Arts Council Working Group on Film and Young People. In keeping Key Scene Analysis I 7 with TY Guidelines which suggest a curriculum that relates to the Themes 8 world outside school, this strand offers students and teachers an opportunity to engage with and question various representations Key Scene Analysis II 9 of Ireland on screen. The guide commences with a brief history Student Worksheet 11 of the film industry in Ireland, highlighting recurrent themes and stories as well as mentioning key figures. Detailed analyses of two films – Bloody Sunday Inside I'm Dancing and Bloody Sunday – follow, along with student worksheets. Finally, Lenny Abrahamson, director of the highly Cast & Synopsis 12 successful Adam & Paul, gives an illuminating interview in which he Making & Filming History 12/13 outlines the background to the story, his approach as a filmmaker and Characters 13/14 his response to the film’s achievements. We hope you find this guide a useful and stimulating accompaniment to your teaching of Irish film. Key Scene Analysis 14 Alicia McGivern Style 15 Irish FIlm Institute What happened after? 15 References 16 WRITER – TONY TRACY Student Worksheet 17 Tony Tracy was former Senior Education Officer at the Irish Film Institute. During his time at IFI, he wrote the very popular Adam & Paul Introduction to Film Studies as well as notes for teachers on a range Interview with Lenny Abrahamson, director 18 of films including My Left Foot, The Third Man, and French Cinema.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • 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.
    [Show full text]