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October 20, 1939 Volume XVI Number 13 Representatives President Announces Thanksgiving Holidays Virginia Governor Speaks to Seniors
f._ SPECIAL FEATURES COMING EVENTS War Firsthand, Page 2 Pan-Hellenic Announces Rushing Senior-Soph Prom Next Saturday Rules, Page 3 Y. W. C. A. Tea Thursday L lib Established 1922 Harrisonburg, Va., Friday, October 20, 1939 Volume XVI Number 13 Representatives President Announces Thanksgiving Holidays Virginia Governor Speaks To Seniors Attend A.C.P. Thanksgiving holidays will be- gin Wednesday, November 22, In Class Day Observance Convention when classes end, according to an announcement made this week Traditional Class Day Barrett, Thomas Delegates by President Samuel P. Duke. Governor, Budget Director, Classes will resume on Monday, Ceremonies Observed and Budget Committee From schoolma'am; Taylor, on Successive Days Overton From Breeze November 27th, at 8:00 a. m. Inspect College With Governor James H. Price of "I am deeply interested in the ed- Anna Gordon Barrett and Betty McConneil Dies Virginia as speaker in the chapel ucational problems of Virginia," de- Thomas, editor and business man- service following the traditional ager of The Schoolma'am, the college clared Gov. James H. Price, in ad- gowning ceremony in Senior Hall, the dressing the student body and fac- yearbook, and Frances Taylor and Wednesday annual observance of Senior Class ulty members Wednesday night on Brooks Overton, who occupy the Madison Biology Professor Day began Wednesday night. the occasion of the annual Senior same respective positions on the col- Dies of Heart Failure Led by Almeda Greyard, class Day assembly. "One of my greatest lege newspaper, The Breeze, will rep- president, the seniors received their ambitions is to make adequate pro- rsent Madison College at the annual Wednesday Night caps and gowns from Dr. -
Sherlock Holmes and the Nazis: Fifth Columnists and the People’S War in Anglo-American Cinema, 1942-1943
Sherlock Holmes and the Nazis: Fifth Columnists and the People’s War in Anglo-American Cinema, 1942-1943 Smith, C Author post-print (accepted) deposited by Coventry University’s Repository Original citation & hyperlink: Smith, C 2018, 'Sherlock Holmes and the Nazis: Fifth Columnists and the People’s War in Anglo-American Cinema, 1942-1943' Journal of British Cinema and Television, vol 15, no. 3, pp. 308-327. https://dx.doi.org/10.3366/jbctv.2018.0425 DOI 10.3366/jbctv.2018.0425 ISSN 1743-4521 ESSN 1755-1714 Publisher: Edinburgh University Press This is an Accepted Manuscript of an article published by Edinburgh University Press in Journal of British Cinema and Television. The Version of Record is available online at: http://www.euppublishing.com/doi/abs/10.3366/jbctv.2018.0425. Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. This document is the author’s post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it. Sherlock Holmes and the Nazis: Fifth Columnists and the People’s War in Anglo-American Cinema, 1942-1943 Christopher Smith This article has been accepted for publication in the Journal of British Film and Television, 15(3), 2018. -
Renan De Andrade Varolli
UNIVERSIDADE FEDERAL DE SÃO PAULO ESCOLA DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 SÃO PAULO 2017 RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 Dissertação apresentada como requisito parcial para obtenção do título de Mestre em História da Arte Universidade Federal de São Paulo Programa de Pós-Graduação em História da Arte Linha de Pesquisa: Arte: Circulações e Transferências Orientação: Prof. Dr. Jens Michael Baumgarten SÃO PAULO 2017 Varolli, Renan de Andrade. O moderno na iluminação elétrica em Berlim nos anos 1920 / Renan de Andrade Varolli. São Paulo, 2017. 129 f. Dissertação (Mestrado em História da Arte) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós- Graduação em História da Arte, 2017. Orientação: Prof. Dr. Jens Michael Baumgarten. 1. Teoria da Arte. 2. História da Arte. 3. Teoria da Arquitetura. I. Prof. Dr. Jens Michael Baumgarten. II. O moderno na iluminação elétrica em Berlim nos anos 1920. RENAN DE ANDRADE VAROLLI O MODERNO NA ILUMINAÇÃO ELÉTRICA EM BERLIM NOS ANOS 1920 Dissertação apresentada como requisito parcial para obtenção do título de Mestre em História da Arte Universidade Federal de São Paulo Programa de Pós-Graduação em História da Arte Linha de Pesquisa: Arte: Circulações e Transferências Orientação: Prof. Dr. Jens Michael Baumgarten Aprovação: ____/____/________ Prof. Dr. Jens Michael Baumgarten Universidade Federal de São Paulo Prof. Dr. Luiz César Marques Filho Universidade Estadual de Campinas Profa. Dra. Yanet Aguilera Viruéz Franklin de Matos Universidade Federal de São Paulo AGRADECIMENTOS Agradeço às seguintes pessoas, que tornaram possível a realização deste trabalho: Aline, Ana Carolina, minha prima, Ana Paula, Bi, Carla, Daniel, Diana, Fá, Fê, Gabi, Gabriel, Giovanna, Jair, meu pai, Jane, minha tia e madrinha, Prof. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951
Tob Control: first published as 10.1136/tc.2008.025445 on 25 September 2008. Downloaded from Research paper Signed, sealed and delivered: ‘‘big tobacco’’ in Hollywood, 1927–1951 K L Lum,1 J R Polansky,2 R K Jackler,3 S A Glantz4 1 Center for Tobacco Control ABSTRACT experts call for the film industry to eliminate Research and Education, Objective: Smoking in movies is associated with smoking from future movies accessible to youth,6 University of California, San Francisco, California, USA; adolescent and young adult smoking initiation. Public defenders of the status quo argue that smoking has 10 2 Onbeyond LLC, Fairfax, health efforts to eliminate smoking from films accessible been prominent on screen since the silent film era California, USA; 3 Department of to youth have been countered by defenders of the status and that tobacco imagery is integral to the artistry Otolaryngology – Head & Neck quo, who associate tobacco imagery in ‘‘classic’’ movies of American film, citing ‘‘classic’’ smoking scenes Surgery, Stanford University with artistry and nostalgia. The present work explores the in such films as Casablanca (1942) and Now, School of Medicine, Stanford, 11–13 California, USA; 4 Center for mutually beneficial commercial collaborations between Voyager (1942). This argument does not con- Tobacco Control Research and the tobacco companies and major motion picture studios sider the possible effects of commercial relation- Education and Department of from the late 1920s through the 1940s. ships between the motion picture and tobacco Medicine, -
Cecil B. Demille's Greatest Authenticity Lapse?
Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate -
Christopher Plummer
Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz, -
Understanding Screenwriting'
Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges. -
1944-06-30, [P ]
Friday, .Tune 3*), JQ44 THE TOLEDO UNION JOURNAL Page 5 ‘Dear Marfin Heard on a Hollywood Movie Set HOLLY WOOD — John News and Gossip of Stage and Serei n Conte and Marilyn Maxwell are enacting one of the j. - ■- <fr.:-;-UUZ;.,> . .ll . , ..■■j , f -r .. Lr „ — . .. romantic interludes in the Abbott and Costello starrer, Star I*refers Pie “Lost in a Harem," on &tage Stars Use Own Names 26 at M-G-M. «► As the scene begins, Ar Birthday ‘Cake’ , S mF k v i Conte takes Marilyn's hand HOLLYWOOD — Judy Gar In New Screen Vogue and says; {, .* diettjo, land defied tradition on her HOLLYWOOD (Special)—If a present trend continues in “I love you.” Hofljwood wri’ers may soon stop worrying about what names to “I’m — I’m speechless,” twenty-second birthday. ' ' I ’ says Marilyn. “As we say in At a family dinner tendered give their screen characters. Actors will simply use their own America, 'this is so sud the young star by her mother, names—as more and more of them are now doing. den'.” By TED TAYLOR Mrs. Ethel Gilmore, the familiar Take the instance of Jose Iturbi. He made his screen debat AmAmL W. birthday cake was conspicuous playing himself in "Thousads Cheer.” “After I have regained my throne, will you marry by its absence. Judy’s favorite In 20th Century Fox s Four Jills and a Jeep,” they prac- HOLLYWOOD (FP)—This fs probably the first ease on record dessert is chocolate pie. After tically dropped the traditional me?” Conte asks her. M-G-M Stars Two New “Yes,” repli“s Maralyn, as of a man nominating himself for a movie plot. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
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. -
Mean Streets: Death and Disfiguration in Hawks's Scarface
Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination.