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Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous. -
Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. -
THE EXPRESSION and ENACTMENT of AGENCY in DESIGN/SCENOGRAPHY EDUCATION By
ILLUSTRATOR, COLLABORATOR, AUTEUR: THE EXPRESSION AND ENACTMENT OF AGENCY IN DESIGN/SCENOGRAPHY EDUCATION by HARRIET EMMA RICHMOND A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY. Department of Drama and Theatre Arts School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham DECEMBER 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that there has been an authorial turn in the occupational identities of theatre designer/scenographers, illustrated through the title of this thesis, ‘Illustrator, Collaborator, Auteur’. The authorial turn has been caused by the scenographic turn that may be described as a turn away from design/scenography for performance towards design/scenography as performance and this has led to a shift in the positionality of designer/scenographers in performance making. Design/scenography education is chosen as the context for the study as it is both an under-theorised area of scholarly enquiry and represents a site of social practices with the potential to provide insights into the changing occupational role of the designer/scenographer. -
0813122023.Pdf
Engulfed Page ii Blank ? Engulfed The Death of Paramount Pictures and the Birth of Corporate Hollywood BERNARD F. DICK THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508–4008 05 04 03 02 01 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Dick, Bernard F. Engulfed: the death of Paramount Pictures and the birth of corporate Hollywood / Bernard F. Dick. p. cm. Includes bibliographical references and index. ISBN 0-8131-2202-3 (cloth : acid-free paper) 1. Paramount Pictures Corporation–History. 2. Title. PN1999.P3 D53 2001 384'.8’06579494 00012276 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Contents Preface ix 1 Mountain Glory 1 2 Mountain Gloom 44 3 Barbarians at the Spanish Gate 85 4 Charlie’s Boys 109 5 The Italian Connection 126 6 The Diller Days 149 7 Goodbye, Charlie 189 8 Sumner at the Summit 206 Epilogue 242 End Titles 245 Notes 247 Index 259 Photo insert follows page 125 Page vi Blank For Katherine Page viii Blank Preface In Mel Brooks’s Silent Movie (1977), Sid Caesar nearly has a heart attack when he learns that a megaconglomerate called “Engulf and Devour” has designs on his little studio. -
Stage & Screen
STAGE & SCREEN Wednesday, April 28, 2021 DOYLE.COM STAGE & SCREEN AUCTION Wednesday, April 28, 2021 at 10am Eastern EXHIBITION Friday, April 23, Noon – 8pm Saturday, April 24, 10am – 6pm Sunday, April 25, Noon – 5pm Monday, April 26, 10am – 6pm And by Appointment at other times Safety protocols will be in place with limited capacity. Please maintain social distance during your visit. LOCATION Doyle Auctioneers & Appraisers 175 East 87th Street New York, NY 10128 212-427-2730 This Gallery Guide was created on (date) Please see addendum for any changes The most up to date information is available On DOYLE.COM Sale Info View Lots and Place Bids Doyle New York 1 6 CELESTE HOLM CELESTE HOLM Two Gold Initial Stickpins.14 kt., of the letters Celeste Holm's monogrammed luna mink "C" and "H" for Celeste Holm, signed Schubot, coat and cap. A floor length vintage fur coat, the ap. 3 dwts. interior labeled Robert Payne and the lining C The Celeste Holm Collection embroidered Celeste Holm. $300-500 C The Celeste Holm Collection $1,000-1,500 2 CELESTE HOLM Triple Strand Cultured Pearl Necklace with Gold and Garnet Clasp. Composed of three strands of graduated pearls ap. 9.5 to 6.5 mm., completed by a stylized flower clasp centering one oval garnet, framed by 7 round garnets, further tipped by 14 oval rose-cut garnets. Length 16 inches. C The Celeste Holm Collection $500-700 7 CELESTE HOLM Celeste Holm's monogrammed ranch mink 3 coat, hat and muffler. A three-quarter length CELESTE HOLM vintage fur coat, the interior labeled Robert Van Cleef & Arpels Gold, Cabochon Sapphire Payne and the lining with a label embroidered and Diamond Compact. -
British Theatre Scenography the Reification of Spectacle Christine A
British Theatre Scenography The Reification of Spectacle Christine A. White Goldsmiths College London University Phd. 1 Abstract Over the last twenty years, the nature of theatre has changed due to the economic system of production which has led to the use of scenography to advertise the theatre product. Theatre has tried to make itself more attractive in the market place, using whatever techniques available. The technological developments of recent years have enabled the repackaging and sale of theatre productions both nationally and internationally. As a result theatre has become more 'designed' in an attempt to make it an attractive commodity. Scenography has become more prominent and this has changed the authorship of the theatre production, the dramatic text; the experts required by the new technologies have had a different involvement with the product, as they have actively contributed to the scenic image presented. Commercial values may have improved the integrity of theatre design and raised its profile within the profession, with theatre critics and with the academic world but it has proved unable to sell a production, which is ultimately lacking in theatricality and true spectacle. On particular occasions the gratuitous use of technology has been criticised, and as such, has been referred to as 'spectacle'. However, spectacle theatre does not simply mean theatre which uses technology, and so it has become imperative for the word spectacle to be more specifically applied, when used as a critical term to describe a form of theatre production. In this thesis, I intend to look at the significant factors that have led to the types of theatre presented in the last twenty years; to discuss these types of theatre in terms of their means of production and delivery to an audience, and to relate the change in scenographic values with a change in economic values; a change which has particularly affected the means of production, and as such is a vital beginning for any discussion of the scenography of the late twentieth century. -
I L L I N 0 I S University of Illinois at Urbana-Champaign
H I L L I N 0 I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. vol. 8, no. 1 Spring $T 6 * THE UNIVERSITY OF ILLINOIS LIBRARY FRIENDS AT URBANA-CHAMPAIGN SN01 ,5 9 m A C.Walter and Gerda B.Mortenson Establish Unique Library Professorship A University of Illinois alumnus, C. Walter Mortenson, and his wife, Gerda, of Newark, Delaware, have made a major gift to the University of Illinois Library at Urbana-Champaign through the UI Foundation. The gift of more than a million dollars will be used to fund a UIUC Library professorship in international library programs. The program will be established as the C. Walter Mortenson and Gerda B. Mortenson Distinguished Professorship for International Library Programs. It is believed to be the first professorship of its kind in the United States. The primary objective of the Fund will be to enhance and stimulate international library programs conducted by the University of Illinois Library at Urbana-Champaign for the promotion of international peace, health, education and understanding. In 1937 Mr. Mortenson earned a B.A. degree at the University of Illinois where he was elected to Phi Beta Announcement Kappa. He received a Ph.D. in was made at the annual Spring Gathering of the University Foundation in Chicago that a gift of more than a million dollars will Chemistry from the University be used by the UIUC Library to establish of the C. Walter Mortenson and Gerda B. Mortenson Distinguished Professorship Wisconsin for in 1940 and worked as a International Library Programs. -
Title the Convergence of Influences on and Evolving Praxis of Mid-Twentieth Century British Theatre Design (1935-1965) Through A
Title The convergence of influences on and evolving praxis of mid-twentieth century British theatre design (1935-1965) through a close study of selected works by Motley and Jocelyn Herbert Type Thesis URL http://ualresearchonline.arts.ac.uk/9194/ Date 2016 Citation Jump, Sophie V. (2016) The convergence of influences on and evolving praxis of mid-twentieth century British theatre design (1935-1965) through a close study of selected works by Motley and Jocelyn Herbert. PhD thesis, University of the Arts London. Creators Jump, Sophie V. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The convergence of influences on and evolving praxis of mid-twentieth century British theatre design (1935-1965) through a close study of selected works by Motley and Jocelyn Herbert Sophie V Jump Submitted for the degree of Doctor of Philosophy The degree is awarded by University of the Arts London August 2015 ABSTRACT This thesis examines key developments in theatre design in Britain between 1935-1965 through the lens of the praxis of the design trio known as Motley (active 1932-78) and of theatre designer Jocelyn Herbert (1917-2003). Analysis of their roles in the creation of the four theatre productions that are used as case studies, Romeo and Juliet (1935), Three Sisters (1938), The Kitchen (1959 & 1961) and Happy Days (1962) enables an evaluation of the complex threads of influence on Motley and Herbert both from within the UK and from the USA and Europe. -
The Importance of Being Earnest
University Musical Society SIPAEFORD FESTIVAL Oscar Wilde's The Importance of Being Earnest Tbesday Evening, November 16,1993 at 8:00 Wednesday Afternoon, November 17,1993 at 1:00 Wednesday Evening, November 17,1993 at 7:00 Power Center for the Performing Arts Ann Arbor, Michigan The Cast (in order of appearance) Algernon Monoieff ......................................................LORNE KENNEDY Lane, a manservant .................................................................BRIAN TREE John Worthing J.P. .............................................................COLM FEORE Lady Bracknell ................................................................PAT GALLOWAY Hon. Gwendolen Fairfax ................................................LUCY PEACOCK Miss Prism, agoverness ..................................................BARBARA BRYNE Cecily Cardew .....................................................................MARION DAY Merriman, a butler.... ..................................................WILLIAM NEEDLES Rev. Canon Chasuble D.D. .....................................RICHARD CURNOCK Footmen ................................................................................MARCRUEL FRANK ZOTTER UNDERSTUDIES MARC RUEL (John Worthing J.P.), BRIAN TREE (Rev. Canon Chasuble D.D.), FRANK ZOTTER (Algernon, Lane, Merriman) A special thanks to David William, Artistic Director, Stratford Festival and Debra Hansoa Head of Design, Stratford Festival, for their Philips Educational Presentations. Immediately following all performances of the -
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NEW YORK STORY: JEROME ROBBINS AND HIS WORLD Donald and Mary Oenslager Gallery The New York Public Library for the Performing Arts Exhibition Curated by Lynn Garafola March 25 – June 28, 2008 The labels, wall exits, and reflections that follow are an effort to revisit an exhibition that did not, alas, have a published catalogue or a robust website. Exhibitions are like performances. When they close, they are dismantled, and the objects, their magic gone, sent back to their boxes. In revisiting this material, I wanted to evoke the experience of walking through the Donald and Mary Oenslager Gallery of the New York Public Library for the Performing Arts, with the reader enjoying by suggestion and as an act of imagination the numerous objects on display tracing the remarkable career of Jerome Robbins as an artist of the ballet, Broadway, and concert stage in mid-twentieth-century New York. This is the second of three exhibitions I have curated about ballet in New York City from the 1930s to the late twentieth century. As such it complements Dance for a City: Fifty Years of the New York City Ballet (New-York Historical Society, 1999) and Arthur Mitchell: Harlem’s Ballet Trailblazer (Wallach Art Gallery, 2018). To revisit these exhibitions digitally, see “Dance for a City” Revisited (https://academiccommons.columbia.edu/catalog/ac:qrfj6q5763) and the Mitchell exhibition website (https://exhibitions.library.columbia.edu/exhibits/show/mitchell). In preparing this material for publication on the Columbia University Commons, I have modified some of the labels, adding explanatory text when it seemed necessary as well as excerpts from letters and telegrams that exhibition visitors could read for themselves. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. JESSICA TANDY: A TWENTIETH CENTURY ACTING CAREER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tonia Krueger, M.A. The Ohio State University 2002 Dissertation Committee: Approved By: Dr. Lesley K. Ferris, Adviser Dr. Thomas Postlewait Dr. Joy Reilly Theatre Graduate Program Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfil
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there a re missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A ccessing the UMIWorld's Information sin ce 1938 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA Order Number 8820327 The Company of Four at the Lyric, Hammersmith: A paradigm for the emergent National Theatre concept Murphy, Hugh Mack, Jr., Ph.D. The Ohio State University, 1988 Copyright ©1988 by Murphy, Hugh Mack, Jr. All rights reserved. UMI SOON. ZeebRd. Ann Arbor, MI 48106 THE COMPANY OF FOUR AT THE LYRIC, HAMMERSMITH: A PARADIGM FOR THE EMERGENT NATIONAL THEATRE CONCEPT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hugh Mack Murphy, Jr., B.A., M.A.