Radio's War of the Worlds Broadcast (1938)
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Wiederentdeckt Beiblatt DAS KALTE HERZ
Wiederentdeckt Eine Veranstaltungsreihe von CineGraph Babelsberg, Berlin-Brandenburgisches Centrum für Film- forschung und dem Zeughauskino, in Zusammenarbeit mit dem Bundesarchiv-Filmarchiv, der F. W. Murnau-Stiftung und der Deutschen Kinemathek 4. November 2016 Einführung: Raff Fluri DAS KALTE HERZ (1931/33) Drehbuch, Kamera, Produktion und Regie: Karl Ulrich Schnabel, Ausstattung: Margarethe Adele Hammer- schmidt, Lotte Lubinski, Aube Tzerko Darsteller: Franz Schnyder (Peter Munk), Stefan Schnabel (Holländer-Michel), Wolf-Wolfgang Guth (Glas- männchen), Elfriede Gärtner (Lisbeth), Juana Sujo (Munks Mutter), Peter Diamand (Amtmann) u.a. Projektleitung 2016, Produktion, Redaktion und Schnitt: Raff Fluri, Musik: Robert Israel.16 mm, Projektions- format: DCP, 84 min., Erstaufführung: 3. Juli 2016 Neuchâtel, International Fantastic Film Festival Making of 1932: Karl Ulrich Schnabel beim Dreh mit Franz Schnyder, unterstützt von Assistentinnen (Foto: Schnabel Music Foundation LLC) ----------------------------------------------------------------------------------------------------------------------------------------- 1931-33 drehte der junge Pianist Karl Ulrich Schnabel mit bescheidenen Mitteln, aber umso mehr Unterstüt- zung von Freunden und Bekannten, in Berlin den Märchenfilm DAS KALTE HERZ nach Wilhelm Hauff. Am Pro- jekt beteiligt waren junge Musiker, Theaterschaffende und Schauspieler, die am Anfang ihrer Karriere stan- den und später zu namhaften Persönlichkeiten wurden. So ist in der Hauptrolle einer der erfolgreichsten Regisseure -
A Reappraisal of Three Character Actors from Hollywood’S Golden Age
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity. -
{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. -
John Cassavetes, Director De Cinc Capítols
bobila.blogspot.com el fanzine del “Club de Lectura de Novel·la Negra” de la Biblioteca la Bòbila # 119 Biblioteca la bòbila. L’hospitalet / esplugues L'H Confidencial 1 Johnny Staccato és un pianista de jazz frustrat criat a Little Italy, bressol de la màfia italoamericana de Nova York. Es guanya la vida exercint de detectiu privat, però no té oficina. Rep els seus clients al Waldo’s, un club de jazz del Greenwich Village, habitual centre de reunió de la Beat Generation i de la bohemia novaiorquesa de finals dels cinquanta i començaments dels seixanta. Sèrie realitzada el 1959-60, Johnny Staccato està protagonitzada pel llegendari John Cassavetes, director de cinc capítols. Combina la bona música, violencia i intrigues policíaques en un còctel únic, tractat sense embuts temàtiques tant agosarades (per John Cassavetes a l’època) com el sexe, la religió, les drogues, el tràfic d’infants o l’anticomunisme. La sèrie va plegar després de 27 capítols, John Cassavetes nace el 9 de diciembre de 1929 en Nueva York, en una alguns judicats “massa controvertits” per la productora. familia de origen griego. A principio de los años cincuenta ingresa en la Ara, per primera vegada a Espanya es pot veure la única Academy of Dramatic Arts en Nueva York, fuertemente influida por el temporada completa d’aquesta sèrie d’alta qualitat técnica, estilo del Actor's Studio. En marzo de 1954 se casa con una joven artística i narrativa, amb actors de la talla de John Cassavetes, actriz, Gena Rowlands, que le acompañará toda su vida. Tras Elisha Cook Jr., Cloris Leachman, Gena Rowlands, Elizabeth numerosos pequeños papeles en telefilmes y películas de segunda fila Montgomery, Michael Landon i Dean Stockwell, i dirigida per rueda en 1956 sus dos primeras películas como protagonista, Crime in respectats directors com John Cassavetes, Boris Sagal, John the Streets, de Don Siegel y Edge of the City, de Martin Ritt. -
Template for August 2010
THE VOICE OF SOUTHWEST WRITERS Vol. 26, No. 8 August 2010 www.southwestwriters.com September Conference: Emerging Multi-Cultural Voices by Sandra Toro, Conference Chair In the recently published summer fiction issue of The New about this same issue in their novels set in the Balkans. Yorker, the editors chose “20 under 40” authors to publish in that and subsequent issues. Though all of these writers Kathleen McLaen, an American writer of Irish extraction, now live in North America, the geography of their origin is writes poignantly not only of the “Irish troubles,” but of the illuminating: Nigeria, Peru, Latvia, China, Ethiopia, Yugosla- atrocities in Albania and Yugoslavia from the point of view via and Russia, as well as those who claim their ancestry in of an Irish historian/professor conducting in-person re- North America for generations. search. Her novel, Midnight Wind, is notable for its ex- traordinary use of dialect and language to define character. Having been originally told of this phenomenon by several New York editors a year ago, when I began to plan the Sep- These three authors will present a most interesting and tember conference for SouthWest Writers I thought about relevant program immediately after lunch at the Confer- those students who have attended my classes at both SWW ence on September 11. and the University of New Mexico. It was a surprise to me For additional information about the conference speakers to see that among the most accomplished writers in my and registration information, please see the registration classes, and those who pitched to me at conferences, were page in this issue of Sage and consult the SWW Web site. -
MONSTER from the OCEANARIUM FLOOR More Details: Gregg Mitman Service, and No Supply of Fresh Or Writes That the Impetus for Drinkable Water
MONSTER FROM THE OCEANARIUM FLOOR more details: Gregg Mitman service, and no supply of fresh or writes that the impetus for drinkable water. “holding sea life in captivity The Shooting of Revenge of the Creature at Marineland to make its filming feasible” Once a few of these challenges were met, was Merian C. Cooper’s film a variety of new ones were involved in the By Tom Weaver Chang (1927), photographed in actual building of the place, which began in the Thailand jungles and fea- May 1937. Sally Baskin continues, June 23, 2013, was the 75th turing an elephant stampede anniversary of Marine Studios “shot within a stockade large They ran into a lot of prob- (now Marineland of Florida), enough not to impede the ani- lems, including an engineering one of Florida’s first marine mals’ actual movements and problem: They had to build tanks mammal parks. Constructed behaviors, yet small enough to that would be able to hold a large between the Atlantic Ocean allow camera operators to take capacity of water, which meant and the Intracoastal Waterway action shots with relative ease. that the walls were going to be too in north Flagler County, it was a [Burden and Tolstoy] decided thick for people to see through the unique attraction on its opening that a similar approach could glass portholes. So they developed day in 1938, and the word ocean- be used to obtain underwater a webbing system of steel rods arium was coined to describe it. action shots of marine life.” and so on; that way, the walls To mark the anniversary, The only child raised at Marineland, Sally Baskin was 12 when The marine mammal didn’t have to be as thick and there will be celebratory events the Revenge crew came calling. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
An Answer to Nelson Eddy Critics
AN ANSWER TO NELSON EDDY CRITICS ..I IIfllR7BDC2S4T 3 1 6M RADI Q7~ DOlJBLES YOlJR RADIO ENJOYMENT 731 PLYMOUTH COURT, CHICAGO, ILL. only German stations, but reports reach l\!riter's Plight us that they can also pick up English news broadcasts. This is contrary to The plight of the radio-writer is the Herr Hitler's plans. American news plight of every lone wolf. He is at the and English news is truthful news, mercy of stronger, better-organized which is embarrassing no end to the adversaries. Since the beginning of Nazis. broadcasting, he has been the creator We hope that German and Italian of programs which brought fame or listeners tune more and more often to fortune to others than himself. our American stations, for as William Musicians were forced to organize Penn put it, "The usefullest truths are to win themselves a place of respect plainest; and while we keep to them, in the radio pictures. Likew ise, the our differences cannot rise high." radio artists. But the writer is still any body's doormat. W e know of one case where a writer Leiters To The Editor was invited to submit ideas for a new program series to one of the greatest Editor, RADIO G U IDE: advertising agencies. He submitted I am ill hearty agreement that t h e script afte r script, devoted three months present-day chi ldren's prog1·wHS are to working on plans dictated by the not at al l suitable jar young people. agency, and was then kicked out the M any of t hem are too exciting and too upsetting. -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright.