1941-11-03 [P B-9]
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Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood
Those Slap-Happy Screamsters Go A’haunting! Saturday, October 23 at 2 & 8 pm only Abbott and Costello’s Hold That Ghost In late 1941 Milton Berle was said to have quipped, "Things are slow in Hollywood. Abbott and Costello haven't made a picture all day." And he was right. fter the smash success of their first starring feature,Buck Privates, (1941) burlesque and Aradio comics Bud Abbott and Lou Costello were the number one box office attraction in the country--and literally saved Universal Studios from bankruptcy. In fact, the only movie that outgrossed Buck Privates at the time was Gone with the Wind. Anxious to keep the team working, Universal Studios had already completed production on their next film, a non-music spoof of two popular film genres of the era--the Haunted House movie and Gangster melodrama--then titled Oh Charlie! (a reference to a running gag in the film where a dead gangster's body keeps turning up). But when the huge box office returns fromBuck Privates began rolling in, Universal temporarily shelved Oh Charlie! to put the team in an- other service themed follow-up, In the Navy. When they returned to Oh Charlie! , Universal discovered test audiences for the film wondered why the Andrews Sisters, who had been in the two previous hits, were absent in this one. So additional re-shoots were required to include the trio, now making it a horror/ comedy, with a couple of songs thrown in. The title was eventually changed to Hold That Ghost and became the third smash hit for Abbott and Costello that year, continuing a string of successes that would keep them among the top box office attractions for the next ten years and would also serve as the inspiration for another classic, 1948's Abbott and Costello Meet Frankenstein. -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita. -
Two Smart Fellows
TwoSmart Fellows Note: The Trent contract with know how it goes. People say loti found, to hi. intense relief, that Producer B. P. Schulberg i' minus of things 1Ilte that-and then you leaming lines is no great tali.. the .•no flying" clause. Nothing get to the airport. Even when Mr. Eager to profit by all experience, could have persuaded the avIator Schulberg offered me a test I was he wcu fascinated by Akim Taml- to sign away his right to the air I scared. It seemed such an awful roff's way of mastering his part in Today he's Hollywood's number chance, giving up a certain job, .•Gambini." one .•ladies' man" by right of dis- where I was making my living, for "He translated every word into covery. Feminine member. of Pr0- one I didn't know a thing about. Ruslian:' Trent explained envious- dueer Schulberg's transcontinental ••Shucks, I never acted in my ly, .. then back into English, alter air party insisted that the good- life. II It hadn't been for my wife he had learned the part. In that looking TWA pilot waa precisely here [with a nod at the slim, titian- way he got the feeling of the their idea c» a leading man. A, hatred girl from Virginia who haa thing, not ju.t the einpty words. you might expect, their frank opin- been Mll. John Trent for several I thlnlt It's an advantage. When ion carried weight. years] I never would have come to you finilh you have more than a •.I didn't pay much attenllon," Hollywood at alL" Trent explained with a grin. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
Looking at Hollywood with Ed Sullivan
P.~. Tw. Chic ••• Saaday Trihaae Looking at Hollywood with Ed Sullivan l DclYid Ni.•.•n Rudy Vcd1ee D. FClirbcmb Jr. RlchGrd Gr •• ne Jimmy St.wGrt Joe Sch.nck on the coast and he has loads brothers, three of them, are don't believe that there will be of dough. Or how about some- married. So are Jack Haley, Jack any reaction whatsoever. The thing in writers or directors- Benny, George Burns, Frank studio bosses are of the opinion Norman Krasna, Rouben Ma· McHugh, Al Jolson, Bert Wheel· that a performer who is married moulian, Bob Risklnd, Carl er, Bob Hope, Fred Allen, Frank happily is better liked by the Laemmle Jr., Eddie Sutherland, Morgan, George Jessel. Their public and gains solid prestige. Austin Fairman? Uh-huh, you marriage rating is high. want Gable or Robert Taylor- Perhaps we shouldn't indulge • • • you will have to take that up in any such broad generality. There are one hundred argu- with Miss Lombard or Miss W. C. Fields, Edgar Bergen, Mil· ments in support of this idea. Stanwyck, ma'am. Can I Inter- ton Berle, and Edward Everett Gable was tremendous at the est you in a nice, swingy band Horton are comics who are root- box office while he was married. leader? Guy Lombardo, Abe loose and fancy-free. So, too, is So was W1lliam Powell. Bing Lyman, Skinnay Ennis. Hal Ken Murray. Charlie Butter- Crosby as a married man and Kemp? No, a lady came and worth is getting a divorce, or a father has gained in popular- got him just the other day. -
William Wyler & Wuthering Heights
William Wyler & Wuthering Heights: Facts 1. The director William Wyler won Academy Awards for Ben-Hur, The Best Years of Our Lives, and Mrs. Miniver; only John Ford has won more Academy Awards (four). Wyler was nominated for twelve Academy Awards, more than any other director. 2. The Directors Guild of American awarded him a Lifetime Achievement Award in 1966, an Outstanding Directorial Achievement for Ben Hur (1960), and five more nominations for that award. 3. Fourteen actors received Academy Award nominations in Wyler films, which remains a Hollywood record. 4. Laurence Olivier found himself becoming increasingly annoyed with William Wyler's exhausting style of film-making. After yet another take, he is said to have exclaimed, "For God's sake, I did it sitting down. I did it with a smile. I did it with a smirk. I did it scratching my ear. I did it with my back to the camera. How do you want me to do it?" Wyler retorted, "I want it better." 5. Olivier: "If any film actor is having trouble with his career, can't master the medium and, anyway, wonders whether it's worth it, let him pray to meet a man like William Wyler. Wyler was a marvelous sneerer, debunker; and he brought me down. I knew nothing of film acting or that I had to learn its technique; it took a long time and several unhandsome degrees of the torture of his sarcasm before I realized it." 6. Wyler’s daughter Cathy, born in 1939, was named after Cathy in Wuthering Heights. -
Abbott and Costello Still Leave Us Laughing
EXPLORER + n n n n ###*L*S###*R*>W, *>NTHE *D, PRESS *Y OF ATLANTIC CITY ###*RTHE PRESS###*L*>W, OF ATLANTIC *>N CITY *D,*S *Y New Jersey comedians About Explorer This summer our Explorer pages, which appear each Monday, look at the lives and achievements of famous New Jersey residents. The Education Abbott and Costello page will return in the fall. Who’s on First Here’s a taste of Abbott and Costello’s most famous routine. Keep in mind that ‘Who,’ ‘What’ and ‘I Don’t Know,’ are names of players on the team. Abbott: they give ball players nowadays very still leave us laughing peculiar names. Costello: Funny names? By DEVIN MCLAUGHLIN For the Press, 609-272-7274 Abbott: Nicknames, pet names. Now, on the St. One of Hollywood’s most popular comedy teams Louis team we have Who’s on first, What’s on had deep roots in the Garden State. second, I Don’t Know is on third — Not only were Bud Abbott and Lou Costello both Costello: That’s what I want to find out; I want you born here, but their wise-cracking humor was full of to tell me the names of the fellows on the St. New Jersey attitude. Louis team. The skinny half of the team, William Alexander Abbott: I’m telling you: Who’s on first, What’s on “Bud” Abbott, was born in Asbury Park, Monmouth second, I Don’t Know is on third. County, in 1897. His parents both worked for the cir- Costello: You know the fellows’ names? cus and he took to show business early, working the Abbott: Yes. -
Pioneer Film Director Honored / HENRY KING
The Museum of Modern Art 'iWest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 57 FOR IMMEDIATE RELEASE PIONEER FILM DIRECTOR HONORED SEVEN WEEK RETROSPECTIVE FOR HENRY KING CO-SPONSORED BY MUSEUM AND DIRECTORS GUILD OF AMERICA "...the most underpublicized filmmaker in Hollywood. This tall, lean, handsome, urbane, but unflamboyant model of a corporation president makes film hits so easily, so efficiently, and so calmly that he is not news in a community of blaring trumpets, crashing cymbals and screaming egos." -Frank Capra Henry King, one of the founding fathers of American film, who began his career early in the century, remains today one of the legendary figures in Hollywood, and though he preserves his privacy, his films such as "The Song of Bernadette," "Twelve O'clock High" and "The Gunfighter" speak for themselves, and these and other major works will be part of a seven week retrospective given in King's honor by New York's Museum of Modern Art in association with the Directors Guild of America. The Virginia-born director, who has specialized, like D.W. Griffith and John Ford, in Americana themes since his first classic, "Tol'able David," and later with "State Fair", "In Old Chicago," "Jesse James" and "Alexander's Ragtime Band," will make a trip from the West Coast to New York to participate in the opening of this program. On June 29 and 30, he will address the Museum audiences, although he seldom makes public appearances. While he contributed to Hollywood's worldwide reputation, King, who recognized such early superstars as Richard Barthelmess, Ronald Colman and Gary Cooper and gave them their first leading roles on the screen, has managed to retain his relative anonymity in an ostentatious environment. -
Index to Academy Oral Histories Hans J. Salter
Index to Academy Oral Histories Hans J. Salter Hans Salter (Composer) Call number: OH114 Abbott and Costello, 96 ABENTEUR AM LIDO, 51 Academy Awards, 79-81, 108, 139-140, 158-159 Academy of Motion Picture Arts and Sciences, 80-81 Adler, Guido, 5 AGAINST ALL FLAGS, 152 American Federation of Musicians (Local 47, AFL), 113-114, 126-127, 148 American Society of Composers, Authors and Publishers (ASCAP), 65, 115-116, 129, 137 Amfitheatrof, Daniele, 122-123 The Andrews Sisters, 96-97 APACHE DRUMS, 93, 135-137 AUTUMN LEAVES, 141 "Autumn Leaves" (song), 141 Bakaleinikoff, Constantin, 123 BEAU GESTE (1966), 156-157 Becce, Giuseppe, 36-37, 42 BEDTIME STORY, 157 BEND OF THE RIVER, 135 Berg, Alban, 7, 10-11, 22-23, 87 Berg, Bengt, 44-45 Berlin State Opera, 20-21 Berman, Bert, 120 Bernhardt, Curt, 53 Bernstein, Elmer, 139 BLACK FRIDAY, 91-92, 94 THE BLUE ANGEL, 41 Bodansky, Rudolf, 30, 31 Borzage, Frank, 112 Brecht, Bertholt, 102 Bressart, Felix, 49-50 THE BRIDE OF FRANKENSTEIN, 87 Brown, B. B., 88 Brown, Johnny Mack, 108 Cain, Ted, 113, 124 CAN'T HELP SINGING, 84-85 Capitol (Berlin movie theater), 20, 21 CHRISTMAS HOLIDAY, 47, 68, 83-84 Coates, Albert, 29 THE COBWEB, 139 COME SEPTEMBER, 142 Conreid, Hans, 133 Copland, Aaron, 105 COUNTESS MARITZA (operetta), 20 THE CREATURE FROM THE BLACK LAGOON, 134, 150 DER BLAUE ENGEL, 41 DER MANN, DER DEN MORD BEGING, 34, 38-39 Dessau, Paul, 102-103 DIE BLONDE NACHTIGALL, 42, 45-46 DIE FRAU IM MOND, 27, 31 Directors Guild of America, 130 "Do Not Forsake Me" (song), 138 DRAGNET (radio program), 123 Durbin, Deanna, 53, 72-79, 81-85 THE DYBBUK (opera), 113 Eisler, Hans, 41 Elster, Elsa, 45 Fairchild, Edgar, 85, 106-107 THE FAR HORIZONS, 152 "Faro-La, Faro-Li" (song), 99 Finston, Nathaniel, 81 FIRST LOVE, 58-59, 74-75 THE 5,000 FINGERS OF DR. -
The Museum of Modern Art Department of Film
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART THE ARTS FOR TELEVISION an exhibition organized by The Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam THE ARTS FOR TELEVISION is the first major museum exhibition to examine television as a form for contemporary art : television as a gallery or theater or alternative space, even television as art . An international selection of artworks made for broadcast, the exhibi- tion documents the crossovers and collaborations that take place on this new television, between and among dancers, musicians, play- wrights, actors, authors, poets, and visual and video artists . And it investigates the artists' own investigation of one medium -- be it dance or music or literature -- through another . It examines the transformations video makes and the possibilities it allows . These provocative uses of television time and technology are organized in THE ARTS FOR TELEVISION according to the medium transformed by the electronic image ; the six categories are Dance for Television, Music for Television, Theatre for Television, Literature for Television, The Video Image (works that address video as a visual art, that make reference to the traditional visual arts and to seeing itself), and Not Necessarily Television (works that address the usual content of TV, and transform it) . The ARTS FOR TELEVISION also presents another level of collaboration in artists' television . It documents the involvement of television stations in Europe and America with art and artists' video . It recognizes their commitment and acknowledges the risks they take in allowing artists the opportunity to realize works of art . -
(Lb* B U T E M Qtbronitte EDITORIALS
EDITORIALS: YELLOW CAB Free Speech CALL F-141 (lb* Butem QTbronitte Same Old Gripe* Volume Tshirty-Eight-No. 3 Duke University, Durham, N. C. Tuesday, September 23, 1941 IMAGINE AIR RAID BOMBS CRASHING HERE FORTUNATELY THE AIRPLANE THAT FLEW PHOTOGRAPHER BEN PATRICK OVER WEST CAMPUS CARRIED ONLY HARMLESS FAST-ACTION CAMERAS INSTEAD OF BOMBS Even Hundred Seniors Bull Durham Goes Berserk; Coed Cheerleader Plan Those Uil Hats Make Fall Dean's List Tramples Manchester's Lawn Are Handicaps Lti'iv i by Is Several tales of woe concem- disbarment as official CHI Y Dance Season g freshman dinks have been columnist, Bull Durham made Unanimously Approved No Impromptu rcu lating around the campus. of the semester, don't worry; his first attempt at revenge Despite the claims of B.O.S. and they're probably just enjoying against his persecutors Sunday Opens Saturday Dates on Hand the fruits of dean's list privi afternoon when he invaded Dean leges. Pep Meet Friday practical drawbacks which ean- Alan K. Manchester's yard with Defense Conscious Women "ie overlooked. For An even hundred members of what, according to onlookers, "I want a girl." the senior class made grades of t y night was definitely malice afore First dance of the year will be To Launch Season owl, who \s ; tryin This very commonplace West high enough to place them on held by the Y in the Woman's Inaugurate Special Courses thought. e from East ci pus aft- campus statement is raising the lists released today by the gym Saturday evening from 7:45 Coed cheerleaders were unan havoc for the girls on the desk The Bull, discharged bovine deans' offices.