Hatr--" VIOLIN RECITAL by Wallace Reld
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Olga Petrova
Olga Petrova Also Known As: Minnie Collins, Muriel Harding, Madame Petrova, O. Petrova, Olya Petrova Lived: May 10, 1884 - November 30, 1977 Worked as: co-screenwriter, film actress, film company owner, musical comedy actress, producer, screenwriter Worked In: United States by Wendy Holliday As a girl in England at the turn of the century, Olga Petrova (born Muriel Harding) felt stifled by her father’s strict rules. According to her memoir, Petrova’s father told her that while she lived in his house and ate his bread, he would set the rules. Petrova was determined to live in her own house and eat her own bread (Petrova 55-56). Her success in reaching this goal, and more, is reflected in the title of her memoir, Butter with My Bread. According to her memoir, Petrova’s desire for independence led her to run away to become a governess, but it is sometimes difficult to tell the mythmaking from reality in Petrova’s writing. She eventually met a theatre agent and became a successful actress in musicals and vaudeville in both London and New York. She likely chose the stage name Olga Petrova herself and created her own back story as a glamorous Pole or Russian. Later Hollywood publicity claimed that the studio created this persona, but press clippings and her memoir suggest that Petrova used the name on the stage. Petrova began her film acting career in The Tigress (1914), directed by Alice Guy Blaché, whom she describes as wearing a “silken glove” but “capable of using a mailed fist” in the short piece, “A Remembrance” (102–103). -
Download Original 5.98 MB
MAUY HEMENWAY HALL WELLESLEY, MASS., FEBRUARY 26, 1942 D~ Hu Shih To Address 1942 President's Wife·. Senate· Approves Plans For · · E . Outlines College At Commencement xerc1ses Role In Defense New College Radio Station __________.......__<e> Studio to Broadcast From Cbina Ambassador To Talk~ Mrs. Fl'ilnklin D. Roosevelt, who On Anniversary of Mme. Liliom Promises is to speak at Wellesley March 27 Pendleton Hall to All Chiang Kai-shek, '17 Dramatic Triumph during Forum's intercollegiate con Campus Dormitories ference, has issued the following Members of the class of 1942 statement to undergraduates: The College Senate took official will leave Wellesley twenty-five What -could be better spring action in a meeting Monday eve "The role of the colleg·e student years after the graduation of tonic than Spring Formals? ning, February 23, to approve in Civilian Defense is extremely plans, presented by Rosam.rnd Wil Madame Chiang Kai Shek. To em- Barnswallows' final production of important. As far as possible, it phasize her connection with Wel- fley '42, for establishing a Tadio seems to me there should be a lesley the peaker at the com the season, Franz Molnar's Liliom, station at Wellesley. One of forty duplication on the campuses of all mencement exercises this June complete with a Wellesley-Harvard colleges belonging to the network the services which would be re will be His Excellency, DL Hu of the Intercollegiate Broadcasting cast and more of Mr. Daniel Sat- quired of a citizen in his commu Shih, Ambassador from China System, the new • station will be to ler's famous scenery, including an nity, so that on the campus the the United States. -
J. M. Barrie's Literary Approach to Adolescent Psychology
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1947 J. M. Barrie's Literary Approach to Adolescent Psychology Richard F. Burnham Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Burnham, Richard F., "J. M. Barrie's Literary Approach to Adolescent Psychology" (1947). Master's Theses. 81. https://ecommons.luc.edu/luc_theses/81 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1947 Richard F. Burnham J. M. BARRRIE'S LITERARY APPROACH TO ADOLESCENT PSYCHOLOGY BY RIC~AP~ F. BURNHAM, S.J. A THESIS SUBMITTED IN PARTIAL FtJLFILLMENT OF THE REQ'CTREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LOY0LA tJNIVERSITY AUGUST 1947 VITA AUCTORIS Richard Francis Burnham, son of Norbert and Mary Short Burnham, was born in Chicago, Illinois, April 3, 1920. He rec8iVed his elementary schbol education at St. Ita's parochial schbol in Chicago and at the Scottville Public Schbol in Scott ville, Michigan. His first year high school was ~pent at the Scottville High School, and the latter three years at Nicholas Senn ITigh School in Chicago, from which he graduated in June, 1937 In September, 1937, he entered Wright Junior Colloge in Chicago and in June, 1939, finished his two year pre-legal course. -
Mary Murillo
Mary Murillo Also Known As: Mary O’Connor, Mary Velle Lived: January 22, 1888 - February 4, 1944 Worked as: adapter, film company managing director, scenario writer, screenwriter, theatre actress Worked In: France, United Kingdom: England, United States by Christina Petersen In March 1918, Moving Picture World heralded British screenwriter Mary Murillo as a “remarkable example” of “the meteoric flights to fame and fortune which have marked the careers of many present day leaders in the motion picture profession” (1525). This was more than just promotional hyperbole, since, in just four years, Murillo had penned over thirty features, including a highly successful adaptation of East Lynne (1916) starring Theda Bara and the original story for Cheating the Public (1918), “which proved a sensation” at its New York debut according to Moving Picture World (1525). Murillo wrote or adapted over fifty films from 1913 to 1934 in the United States, England, and France, including slapstick comedies, melodramas, fairy tale adaptations, and vehicles for female stars such as Bara, Ethel Barrymore, Clara Kimball Young, Olga Petrova, and Norma Talmadge. As a scenarist, her range included several films focused on contemporary issues—gender equality, women’s suffrage, economic progressivism, and labor reform—while others, such as the child-oriented adaptation of Jack and the Beanstalk (1917), seem to have been meant to appeal as pure escapism. In the latter half of her career, Murillo left the United States for England where she joined several ventures, but never equaled her American output. Born in January 1888 and educated at the Sacred Heart Convent in Roehampton, England, Murillo immigrated to the United States in 1908 at the age of nineteen (“Mary Murillo, Script Writer” 1525; McKernan 2015, 80). -
Alice Guy Blaché
Alice Guy Blaché Also Known As: Alice Blache, Alice Guy, Alice Guy-Blaché Lived: July 1, 1873 - March 24, 1968 Worked as: assistant director, co-director, co-producer, co-screenwriter, director, film company owner, lecturer, producer, screenwriter, secretary, writer Worked In: France, United States by Alison McMahan From 1896 to 1906 Alice Guy was probably the only woman film director in the world. She had begun as a secretary for Léon Gaumont and made her first film in 1896. After that first film, she directed and produced or supervised almost six hundred silent films ranging in length from one minute to thirty minutes, the majority of which were of the single-reel length. In addition, she also directed and produced or supervised one hundred and fifty synchronized sound films for the Gaumont Chronophone. Her Gaumont silent films are notable for their energy and risk-taking; her preference for real locations gives the extant examples of these Gaumont films a contemporary feel. As Alan Williams has described her influence, Alice Guy “created and nurtured the mood of excitement and sheer aesthetic pleasure that one senses in so many pre-war Gaumont films, including the ones made after her departure from the Paris studio” (57). Most notable of her Gaumont period films is La Vie du Christ (1906), a thirty-minute extravaganza that featured twenty-five sets as well as numerous exterior locations and over three hundred extras. In early 1907, Guy resigned her position as head of Gaumont’s film production arm in Paris although she did not end her business relationship with Gaumont. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
N O R M a Talmadge
B U R EAUX: 20 Mars 1920 26 iù, Rue PARIS Traversière ( x I I * ) ABO N NEMENTS : O fr. SO FRANCE ÉTRANGER Un an. .. 20 fr. 22 fr. CIN Six mois.. ÎO fr. 11 fr. :: NUMERO 29 :: Pierre HENRY, directeur POUR TOUS Parait le Samedi PUBLICITE 11 DEPOT DE VENTE A PARIS S'adresser à l'Administrateur Agence Parisienne de Distribution aux Bureaux du Journal :: 20. Rue du Croissant. 20 :: SOMMAIRE : Les Idées -- Les Faits Les Films de la Semaine La Photogénie telle que la définissent les vedettes de l'écran Réponses aux Questions posées par nos Lecteurs et un article sur N O R M A TALMADGE l'émouvante interprète de LA SECRÉTAIRE PRIVÉE L'IRRESPONSABLE LES FIIRONDELLES et LA CITÉ DÉFENDUE CINE CINE POUR TOUS POUR TOUS film de Douglas Fairbanks qui ait paru en France, et probablement Mlles Renée Sylvaire et Elmire Vautier et MM. Jacquet et Vibert pour le meilleur de ceux où cet artiste ait paru. interprètes. Espérons que l'Eclipsé continuera dans cette voie. Le Penseur, d'Edmond Fleg, filmé par Léon Poirier, avec le con- cours de Mlle Madys et de MM. André Nox et Tallier pour l'inter- Un des plus jeunes metteurs en scène français, M. René Goiffard LES IDÉES LES FAITS prétation. (Edition : 7 mai). nous est revenu d'Amérique où il a tourné pour Blue Bird, Astra, Ca- Le Carnaval ides Vérités, conçu par Marcel L'Herbier et réalisé par nadian Impériail, des films comme Ketty Brown, The man from, lui avec le concours de Mmes Suzanne Després et Marcelle Pradot ; de Rocky, The sign of the yellow, etc. -
AN ANALYSIS of the AMERICAN FILM ADAPTATIONS of PETER PAN * MIRALLES LÁZARO , Javier [email protected]
THE STOLEN FAIRY DUST: AN ANALYSIS OF THE AMERICAN FILM ADAPTATIONS OF PETER PAN * MIRALLES LÁZARO , Javier [email protected] Fecha de recepción: 16 de julio de 2013 Fecha de aceptación: 29 de julio de 2013 Título: «El polvo de hadas robado: Un análisis de las adaptaciones de Peter Pan en el cine americano» Resumen: Este trabajo tiene por objeto realizar un estudio comparativo entre Peter Pan del autor escocés J.M. Barrie y su posterior conversión al cine. Para ello, analizamos el proceso de adaptación en cuatro películas que, además de ser bien conocidas por el público, comparten la característica de haber sido producidas por estudios de cine americanos. Ateniéndonos al carácter original de la obra, adoptaremos un enfoque que nos permita reconocer las similitudes y diferencias entre el texto literario y el texto fílmico. Así pues, observaremos cómo, a través de sus numerosas recreaciones, la industria de Hollywood se ha apropiado de un relato mítico de la literatura inglesa y lo ha convertido en un producto «made in U.S.A.». Palabras clave: J.M. Barrie – cine – adaptación – derechos de autor – W. Disney – S. Spielberg Abstract: This paper aims to conduct a comparative study between Peter Pan by the Scottish author J.M. Barrie and its subsequent conversion into film. To do this, we analyse the process of adaptation in four films which, besides being well known by the public, share the characteristic of having been produced by American film studios. Guided by the original character of the work, we will adopt an approach that allows us to recognise the similarities * Este trabajo ha contado con la guía de la Dra. -
Peter Pan, “Why Fear Death? It Is the Most Beautiful Adventure That Life Gives Us.”
A Reader's Guide ON THE SAME PAGE 2020 MADISON LIBRARY DISTRICT Sir James Matthew Barrie, 1st Baronet James Barrie, often referred to as J.M. Barrie, was the ninth of ten children born to David Barrie, a hand weaver, and the former Margaret (Mary) Ogilvy in Kirriemuir, Scotland on May 9, 1860. Little Jamie had a complicated relationship with the matriarch of this strict Calvinist family. His maternal grandmother had died when Mary was eight, leaving her to run the large household. She had no real childhood of her own which may have tainted her relationships with her children. Mary had a very clear favorite, Jamie’s older brother David. When Jamie was six and David fourteen, David was killed in an ice skating accident, and Mary plummeted into an emotional abyss. Attempting to gain her love and give her some consolation, little Jamie began dressing in his dead brothers clothes, tried to act like him, give his familiar whistles, etc. At one point, he walked into a room where his mother was sitting in the dark, her eyes grew large and she asked, “Is that you?” to which Jamie replied, “No, it’s no him; it’s just me.” The only thing that seemed to give his mother any comfort was knowing that David would never grow up and leave her behind. Jamie was a small child, short (Even as an adult, he never passed five feet three inches.) and slight who drew attention to himself through storytelling. He spent much of his school years in Glasgow where his two oldest siblings, Mary Ann and Alexander, taught at the academy. -
Wellesley News
nway Hall, esley. Mass. 0kg C0llegc ^tmB WKLLKSLEY, MASS., MAY Constructivism Theme BARN'S NEW HEADS COMING EVENTS WELLESLEY HAS PROMINENT PART IN Of Last Art Lecture s last formal chape MANAGE JUNE PLAY lectures PERMANENT STUDENT LEAGUE OF NATIONS is series of >e led by President n May 22, Professor 8:15 A.M., Friday, May 31. The faculty Lyef group in Mos- Barrie's "Kiss For Cinderella" eniors, who will march in formal Hawley Bill Changes Disarmament Cause of Debate cow. These writers and artists of the academic procession, are to assemble at practical express the strong spirit of Agreed Upon in House At First Meeting of Is Production Chosen For j'clock. Constructivism which dominates Rus- Seniors and Guests sian thought today. Tretyakov, their At 3 P.M. on Tuesday, May 28, de- Model Assembly leader, writes plays, scenarios and books ate closed in the House of Represen- PLAN TWO PERFORMANCES on scholarly subjects. His metamor- itives on the Hawley bill for revision MEET AT CAMBRIDGE f the tariff, according to the decision is of ..he change of f a Republican vist author typical i shores of Lake Waban conference held last The organization of the first perma- B swallows' new play, Kiss for r am A mood from the violent Russia of the led at 7:15, Friday eveni eek. The conference met at 10 A. M. nent Students Model League of Nations Cinderella, by J. M. Barrie, will be the revolution to the constructive spirit of 31, as the inter-class crew ra> n Thursday, and when the House met for the Eastern Bay State region and first production of the new executives. -
00 Preliminares:Ucm
cubierta productorOK2.qxp 04/06/2009 12:09 PÆgina 1 EL PRODUCTOR Y LA PRODUCCIÓN EN LA INDUSTRIA CINEMATOGRÁFICA l trabajo que desarrolla el productor cumple una función absolutamente E esencial en el proceso de generación de cualquier obra audiovisual. De este modo, en el análisis de cualquier texto audiovisual no se puede omitir la importancia del trabajo que realizan los productores y lo determinante que resulta la dirección y el diseño de la producción para que las películas, las series y otros productos audiovisuales conozcan el éxito, no sólo en la factura del film o del programa de televisión, sino también en sus procesos de explota- ción (distribución, exhibición, difusión o comercialización), en los que estos pro- fesionales participan de forma muy activa. El productor y la producción en la industria cinematográfica pretende contribuir a un mejor conocimiento de la figura del productor y de los procesos de trabajo que generalmente pasan inadvertidos para los estudiosos del cine y de la televisión. Javier Marzal Felici y Francisco Javier Gómez Tarín (eds.) Tarín Javier Marzal Felici y Francisco Gómez ELY PRODUCTOR LA PRODUCCIÓN EN LA INDUSTRIA CINEMATOGRÁFICA Javier Marzal Felici y Francisco Javier Gómez Tarín (eds.) Maurice Tourneur y el ocaso de la figura del director-productor en el Hollywood de 1920 CARMEN GUIRALT GOMAR 263 Universidad de Valencia De los pioneros cinematográficos que emergieron en Estados Unidos en la década de 1910, Maurice Tourneur (1876-1961) es probablemente el más injustamente olvidado. En los manuales de historia del cine, o bien no se le menciona, o se hace únicamente por su vinculación con la vanguardia experimental norteamericana a través de dos films –The Blue Bird y Prunella, ambos de 1918. -
Photoplay "In Tuesday
farce. -What's Your Husband DotnrJ* takes place tomorrow night at .Hart¬ ford. Maxine Elliott made her appoaruof in New York last week, th« first tlm# in five years, in the Red Cross pageant, "The Drawing of the Sword/* imiLrementy 'Mother Carey's Chickens" closed Its New York run last right and will *o on tour with tlie present cast. The piece is expected to make a hit on the road. GOODNESS gracious, A1 Woods' Mrs. Patrick ''ampbell is appearing: in London in Hayard Viellers' "Thir¬ On -with the Annabelles! teenth Chair." in the role created In Had it not been for Mr. this country by Margaret Wycherley. Woods many of us might not l ast Tuesday Sarah Bernhardt cele¬ have known what a wicked brated her seventy-second birthday In world we are living in. her private ar in the railroad yards at And had it not been for Annabelle Davenport. Iowa, where she appeared twice a day in vaudeville. many a glint of the sunshine that il¬ lumes this dance-riddcn orb would have Richard Walton Tully. author of "Th« Bird of Paradise." has leased a studio been overlooked. hrt on sfe a* s& in New ^ o»*k. where i* working of "Good¬ a new plav which he cxpects to have Arthur Hopkins, producrr produced next season. ness Gracious Annabelle'* is an inter¬ the current theater. The Messrs Shubert produced at the esting quantity in Bijou Theater. New York, last week His specialty is spontaneity. Henry Bataille's latest play. "The He makes productions for the fun "f Torches." with Lester Lonergan and It and apparently does not care whether Amy Ricard in the leading parts.