DOCSLIB.ORG

Valuations of Femininity in 1920S Stage Adaptations from Women's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Valuations of Femininity in 1920S Stage Adaptations from Women's Capital Complex: Valuations of Femininity in 1920s Stage Adaptations from Women’s Culture By Bethany Wood A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Theatre and Drama) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 10/15/12 This dissertation is approved by the following members of the Final Oral Committee: Mary Trotter, Associate Professor, Theatre and Drama Aparna Bhargava Dharwadker, Professor, Theatre and Drama Michael Vanden Heuvel, Professor, Theatre and Drama Julie D’Acci, Professor, Gender and Women’s Studies Jonathan Gray, Professor, Communication Arts © Copyright by Bethany Wood 2012 All Rights Reserved i Acknowledgements I am truly grateful for the generous personal and institutional support I have received throughout the research and writing of this dissertation. I am deeply indebted to my advisor, Dr. Mary Trotter, for her careful reading and insightful comments and questions, which inspired and directed this dissertation. Her advice and queries consistently push and guide my work in productive directions, and I am thankful for her mentorship. I would also like to express my appreciation for my dissertation committee, Dr. Julie D’Acci, Dr. Aparna Dharwadker, Dr. Jonathan Gray, and Dr. Michael Vanden Heuvel, whose suggestions helped hone my initial proposal and advance the complexity of my analysis. I am grateful for their insights and inquiries. Financial support from several institutions assisted with the research and completion of this study, including the Mellon-Wisconsin Summer Fellowship, which enabled me to complete the final draft of this dissertation. The Helen Krich Chinoy Dissertation Research Fellowship from the American Society for Theatre Research as well as the Vilas Travel Grant from the University of Wisconsin-Madison supported travel to numerous archives, including the Beinecke Rare Book and Manuscript Library at Yale University, the Billy Rose Theatre Collection at the New York Public Library, and Bryn Mawr College Library’s Special Collections. The librarians and archivists at each of these institutions were extremely helpful, and I would specifically like to thank Marianne Hansen and Eric Pumroy for their assistance with the Margaret Ayer Barnes Papers and Arlene for her invaluable assistance in using the Billy Rose Theatre Collection. Several individuals have been particularly generous with their time and resources in supporting this project. I especially wish to thank Julie Goldsmith Gilbert for her scholarly work ii as well as her personal insights into the work and life of her great aunt, Edna Ferber. I am similarly grateful to Richard Ziegfeld for his wonderful resource The Ziegfeld Touch, which he wrote with Paulette Ziegfeld, as well as his generosity in discussing and sharing his research. Jonathan Bank of the Mint Theatre Company provided invaluable assistance in locating the script for The Age of Innocence. I am also indebted to Cari Beauchamp for her assistance in locating materials related to Anita Loos and to Lonna Morouney for her kind provision of materials on the Sidell Sisters. I would also like to thank Dr. Judith A. Sebesta for her advice on my initial research on Show Boat as well as her aid in applying for funding throughout the project. I would also like to thank Aralene Callahan, Annie Giannini, and Megywn Sanders- Andrews for their careful readings and constructive suggestions for my initial drafts. Janet and Joel Ristuccia and Willow Osborn opened their homes to me during travel to New York, which helped immensely, and numerous friends provided encouragement during the various stages of this project. Most importantly, I am humbled by and forever grateful for the loving support of my husband Ken Wood. iii This dissertation is dedicated to Julie Vogt, an amazing scholar, mentor, and friend I dearly miss. iv Table of Contents Abstract vii Introduction - Show Business: Gender Business 1 Commodification and Femininity 2 Objectives and Theory 5 Historical and Critical Context 10 Methodology 17 Chapter One - The Modern Girl in Modern Media: Women’s Magazines and Broadway Theatre Commodify Cultural Ambivalence 22 Anxiety and Ambivalence 23 Women’s Magazines and Broadway Theatres 25 Sex and the Modern Girl 33 Beauty, Consumerism, and the Modern Girl 45 Actresses and Capital 62 Chapter Two - Ol’ (Wo)Man River?: Broadway’s Gendering of Edna Ferber’s Show Boat 67 Ferber’s Show Boat 70 Show Boat and the Woman’s Home Companion 73 Show Boat and Ziegfeld’s Broadway 80 Adapting Race and Gender in Show Boat 84 Female Practitioners 93 Expanding the Ziegfeld Brand 97 v Chapter Three - From Criticism to Compliment: American Gender in The Age of Innocence 118 Edith Wharton and the Pictorial Review 121 Competing Femininities 126 Framing Wharton’s Serial 132 Adapting The Age of Innocence 139 Adapting Masculinity, Class, and Nationality 143 Adapting Racial Others 153 Casting, Contracts, and Capital 160 Cornell’s Capital 168 Wharton’s Modified Critique 176 Chapter Four - Ignorance is Marketable: Feminine Fatuity and the Currency of Fun in Anita Loos’s Gentlemen Prefer Blondes 181 Femininity and Fatuity 186 The Beginnings of Blondes 193 Satirizing Shopping and Smartness 197 Constructing Culpability 208 Casting and Capital 216 Conclusion – Continuing Issues of Capital 227 vi List of Figures 1. Sidell Sisters’ Apache Dance from Show Boat 104 2. Illustration for The Age of Innocence 135 3. Katharine Cornell in The Age of Innocence 171 4. Katharine Cornell in The Age of Innocence 175 5. Anita Loos 189 6. Gentlemen Prefer Blondes 210 7. Mildred Macleod 217 8. June Walker as Lorelei Lee 219 vii Abstract American theatre sustains itself through the commodification of live bodies and the gender ideologies they represent, particularly through commercial displays of women. While numerous studies in cultural theory and theatre research examine the commodification of women in entertainment, few studies investigate precisely how practitioners in commercial theatre calculate and compound the value of this complex asset. This study offers a productive method for examining the entertainment value—the presumed appeal and revenue—of femininity in mainstream entertainment. Through an analysis of 1920s stage adaptations, this dissertation investigates the capital concerns, economic, cultural, and ideological, at play in determining, manipulating, and maximizing the value of specific femininities in for-profit entertainment. Using this study, I conceptualize such concerns as a complex of capital, a theoretical tool for understanding and challenging dominant valuations of gender in for-profit entertainment. I examine this capital complex through three case studies exploring the practical aspects of calculating and compounding entertainment value in the constructs of femininity. Specifically, I examine the influence of capital on the commodification of femininity in three 1920s stage adaptations from women’s magazine serials: Show Boat (1927), The Age of Innocence (1928), and Gentlemen Prefer Blondes (1926). As women’s magazine serials composed and adapted during a time of shifting cultural expectations, each of these texts emerged as a strong commentary on modern femininty. This central theme serves to highlight valuations of gender in the transformation of each narrative from a women’s magazine serial to a popular Broadway show. viii In addition to analyzing issues of capital and valuations of gender in commercial theatre, this dissertation expands current scholarship on 1920s entertainment and gender by analyzing productions with female stars and women writers, an area in which women wielded more influence than anywhere else in the industry. In addition, this study considers the symbiotic relationship between commercial Broadway theatre and women’s magazines during the 1920s, an underexplored area of cultural intersection in shaping gender during this time. Placing these media in conversation with each other expands existing theatre scholarship, which overlooks the serial versions of these plays, thus isolating these narratives from their gendered origins. Introduction Show Business: Gender Business She never saw him again. —Show Boat by Edna Ferber He slowly takes her in his arms—He hasn’t quite the courage to kiss her. She kisses him. —Show Boat by Jerome Kern, Oscar Hammerstein II, and Florenz Ziegfeld When Jerome Kern, Oscar Hammerstein II, and Florenz Ziegfeld Jr.’s musical adaptation of Edna Ferber’s Show Boat debuted in 1927,1 Broadway audiences witnessed a romantic finale far removed from the concluding scene in Ferber’s novel. Ferber’s narrative, which debuted in 1926 as a women’s magazine serial and appeared as a novel later that year, concluded with the widowed Magnolia alone aboard her show boat, waving to her daughter Kim as Kim heads off to start a theatre company. In contrast, Kern, Hammerstein, and Ziegfeld closed their musical version of Ferber’s tale with a scene depicting Magnolia and her husband Ravenal reuniting, holding each other in a loving embrace as Kim looks on approvingly from off stage.2 Aware of the financial risks involved in producing a Broadway musical, Kern, Hammerstein, and Ziegfeld altered Ferber’s ending, as well as several other aspects of her narrative, in order to create what they viewed as a more commercial version of Show Boat. In doing so, the adapters reformulated the femininity in Ferber’s narrative to communicate a more dependent, and, therefore, they believed, more marketable
Load more

Recommended publications
  • Stanley Chase Papers LSC.1090
    http://oac.cdlib.org/findaid/ark:/13030/kt6h4nc876 No online items Finding Aid for the Stanley Chase Papers LSC.1090 Processed by Timothy Holland and Joshua Amberg in the Center For Primary Research and Training (CFPRT), with assistance from Laurel McPhee, Fall 2005; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala, Caroline Cubé, Laurel McPhee and Amy Shung-Gee Wong. UCLA Library Special Collections Online finding aid last updated on 2020 December 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Stanley Chase LSC.1090 1 Papers LSC.1090 Contributing Institution: UCLA Library Special Collections Title: Stanley Chase papers Creator: Chase, Stanley Identifier/Call Number: LSC.1090 Physical Description: 157.2 Linear Feet(105 boxes, 12 oversize boxes, 27 map folders) Date (inclusive): circa 1925-2001 Date (bulk): 1955-1989 Abstract: Stanley Chase (1928-) was a theater, film, and television producer. The collection consists of production and business files, original production drawings, posters, press clippings, sound recordings, and scripts from his major projects. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials.
    [Show full text]
  • Call Dam Bids on December 10, Is Plan
    LEADING A lAVE ADVERTISING NEWSPAPER IN A MEDIUM Coulee City Dispatch PROGREBSIVE OWHR VOLUME XXVI—NUMBER 16 COULEE CITY, GRANT COUNTY, WASHINGTON, THURSDAY, PCT. 21, 1937 SUBSCRIPTION $1.50 PER YEAR Call Dam Bids on December 10, Is Plan Huge Oil Fraud Charged as At the Russian Polar Base Tentative Date Grand Jury Indicts Eleven Set by Page former and sal- Eleven officers CARD [PARTY SATURDAY ' December 10 was tentatively esmen for the Peoples Gas and set today for opening of bids for Ofl comipany and associated ‘com- for the card The date Rebekah completion of Grand Coulee dam. paniesz were indicted by a federal party changed from Fri- has been - The bids will be opened ip the district court grand jury at Taco- day until Saturday night, it was assembly hall of the Chamber of ma Yyesterday for mail fraud, vio- announced today. The change was Commerce. lation of the federal securities act that made when it was learned Announcment lof the bid opening and congpiracy. was Sat- no dance scheduled for was made in Washington, D, C, to- The complaint involved business urday night to the conflict with day by John C. Page, federal of the Peoples Gas and Oil com- com- affair. missioner (of reclamation. pany, by which it clgijmed the Prizes will be awarded winners was * “A lot depends on when we, com- de’endants have .collected more and a supper served following the plete the specifications,” Page than $1,881,000 from Washington pinochle session. ’Mir. recidents. said, ‘“The contractors should have at least six weeks to look them Denfendants Named ROAD JOBS AWARDED f over and make their estimates Joseph F.
    [Show full text]
  • Akins Papers: Finding Aid
    http://oac.cdlib.org/findaid/ark:/13030/c8h132ss No online items Zoë Akins Papers: Finding Aid Finding aid prepared by Gayle M. Richardson. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2008 The Huntington Library. All rights reserved. Zoë Akins Papers: Finding Aid mssZA 1-7330 1 Overview of the Collection Title: Zoë Akins Papers Dates (inclusive): 1878 - 1959 Collection Number: mssZA 1-7330 Creator: Akins, Zoë, 1886-1958. Extent: 7,354 pieces in 185 boxes + ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the personal and professional papers of American writer Zoë Akins (1886-1958). It includes correspondence with various literary, theatrical and motion picture figures of the first half of the twentieth century. There are also manuscripts of novels, plays, poems, short stories, outlines for plays, and articles. There is also correspondence related to her husband, Hugo Rumbold (d. 1932), and the Rumbold family. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • Edna Ferber Last
    EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS A Thesis Submitted to the Faculty of The School of Continuing Studies And the Graduate School of Arts and Sciences In partial fulfillment of the requirements for the degree of Master of Arts In Liberal Studies By Anne Efman Abramson, B.A. Georgetown University Washington, D.C. April 30, 2010 EDNA FERBER’S WOMEN CHARACTERS, 1911 – 1930, AND THE REINTERPRETATION OF THE AMERICAN DREAM THROUGH A FEMALE LENS Anne E. Abramson, B.A. Mentor: Michael Collins, Ph. D. ABSTRACT Edna Ferber (1885‐1963) was a Pulitzer Prize‐winning author and one of the most popular writers of her time. Today, however, she is rarely read in schools or colleges, although her plays are still produced, and the films based on her novels, plays and short stories continue to be appreciated by classic film lovers. This thesis demonstrates how Edna Ferber created female characters in the early years of the twentieth century who struggled against the constraints of society’s traditional female roles, who were the first in their nontraditional professions, and who achieved their own version of the American Dream. Edna Ferber also revisited American history with stories that highlighted women’s contributions to America. This thesis first introduces Edna Ferber, her background and her early years drawing from Ferber’s two autobiographies, A Peculiar Treasure, 1939, and ii A Kind of Magic, 1963. Second, it discusses the New Woman at the turn of the century; the American Dream, historically and in relation to Ferber’s female characters; and Edna Ferber as a middlebrow modern writer whose literary output had powerful cultural agency.
    [Show full text]
  • Chicago (1927)
    Closing Night Gala Sunday 26th March | Screening 20:00 Chicago Dir. Frank Urson & Cecil B.DeMille (uncredited) | USA | 1927 | 1h 58m With: Phyllis Haver, Victor Varconi, Virginia Bradford Performing live: Stephen Horne (piano, accordion) & Frank Bockius (percussion) Chicago is the thoroughly modern tale of a publicity hungry, headline grabbing anti-heroine, as addicted to her own reflection as today’s popular culture is to the Selfie. Roxie Hart is the iconic free-spirited 1920’s flapper transformed into a destructively willful, reckless, self-centred and amoral media darling. Taken to the extreme, she’s the troubling threat to the establishment posed by a generation of young women flaunting social conventions, dress codes and manners, enjoying sexual freedom, self-determination and demanding what they most want out of life. Phyllis Haver (1899-1960) plays Roxie to perfection in a sparkling performance of devious charm, ruthless determination and brilliant comic timing. Tonight is a rare opportunity to rediscover her talent and celebrate the work of an almost forgotten star. Haver began her career in cinema accompanying silent films on piano, became a Mack Sennett Bathing Beauty and then got her big break as an actress, appearing in over 35 films for the Sennett Studios from 1916-20 before signing with DeMille-Pathé. She worked with some of the most revered artists of her day including Buster Keaton, Lon Chaney, Howard Hawks, Raoul Walsh and D.W. Griffith. There’s no doubt that Haver’s star quality and comedic flair elevate Chicago above a simple black and white morality tale. Her career defining performance was praised by critics as “astoundingly fine”, an impressive combination of “comedy and tragedy”.
    [Show full text]
  • PDF Download the Women
    THE WOMEN PDF, EPUB, EBOOK Alice Taylor | 208 pages | 28 Jan 2016 | O'Brien Press Ltd | 9781847177889 | English | Dublin, Ireland The Women PDF Book Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Sep 27, Meh, it passed the time. Joseph Ruttenberg Oliver T. Excitement around organizing to build new systems of public health and community safety while changing existing ones i. American Ninja Warrior. Oliver T. First Name. The omissions are not terribly important, and some of the new sequences are so good Miss Boothe might have thought of them herself. By signing up, you agree to receiving newsletters from Rotten Tomatoes. Clear your history. You're almost there! Miss Genevieve Raton. Oof, that was Rotten. Perhaps Clara Boothe Luce and screenwriter Anita Loos were trying to slipin some commentary about the lack of agency in women's lives. Young Girl uncredited Dorothy Appleby Boy 2 Jordan Chapalonis Rate this movie. More Top Movies Trailers. Our webinars include closed captioning and can be found on YouTube. Richard C Super Reviewer. This version sees itself as both a farce and a manifesto, a glorification of female friendship and a celebration of women's need for self-realization Diane English focuses on story and character, and even in a movie that sometimes plays like an infomercial for Saks Fifth Avenue, we find ourselves intrigued by these women. Matt Brunson. Forgot your password? January 18, Full Review…. Stephen Haynes learns that her husband is seeing a salesgirl at Saks, and reluctantly divorces him, abetted by her friends, all of whom have romantic problems of their own.
    [Show full text]
  • Arguing Their World: the Representation of Major Social and Cultural Issues in Edna Ferber’S and Fannie Hurst’S Fiction, 1910-1935
    1 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom to The Department of English In partial fulfillment of the reQuirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2018 2 ARGUING THEIR WORLD: THE REPRESENTATION OF MAJOR SOCIAL AND CULTURAL ISSUES IN EDNA FERBER’S AND FANNIE HURST’S FICTION, 1910-1935 A dissertation presented By Kathryn Ruth Bloom ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the reQuirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2018 3 ABSTRACT BetWeen the early decades of the twentieth-century and mid-century, Edna Ferber and Fannie Hurst were popular and prolific authors of fiction about American society and culture. Almost a century ago, they were writing about race, immigration, economic disparity, drug addiction, and other issues our society is dealing with today with a reneWed sense of urgency. In spite of their extraordinary popularity, by the time they died within a feW months of each other in 1968, their reputations had fallen into eclipse. This dissertation focuses on Ferber’s and Hurst’s fiction published betWeen approximately 1910 and 1935, the years in Which both authors enjoyed the highest critical and popular esteem. Perhaps because these realistic narratives generally do not engage in the stylistic experimentation of the literary world around them, literary scholars came to undervalue their Work.
    [Show full text]
  • Sparrows (1926)
    Sparrows (1926) Closing Night Gala: Sunday 21 March 2021 Music composed by: Taylor and Cameron Graves Sparrows, released in 1926, marks the final time Mary Pickford plays a youngster on the big screen and ​ it was her next to last silent film. She was 33 years old and had already starred in 40 features and more than 100 short films. Over the 17 years she had been making movies, she had become a creative producer, a savvy businesswoman and the highest paid and best-known actress in the world. She was also one of the hardest working people in the business. Between 1912 and 1919, Pickford jumped between a variety of studios, increasing her paychecks astronomically each time until she risked it all to produce her own movies and join with Douglas Fairbanks, D.W. Griffith and Charlie Chaplin to form United Artists to distribute them. She married Fairbanks in 1920 and they ruled the filmmaking world from their Beverly Hills home dubbed Pickfair. They built their own Pickford Fairbanks studio on Santa Monica Blvd and on those 18 acres, they each had their administration offices as well as crew and craftsmen to write, direct and film their movies. Mary had her own bungalow where Doug often joined her for lunch and they came to the studio together in the morning and went home – often very late – together at night. Only a few months before deciding on Sparrows, Mary’s portion of the lot had been a turn of the century, ​ New York tenement for her film Little Annie Rooney.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [Show full text]
  • PLAYNOTES Season: 43 Issue: 05
    PLAYNOTES SEASON: 43 ISSUE: 05 BACKGROUND INFORMATION PORTLANDSTAGE The Theater of Maine INTERVIEWS & COMMENTARY AUTHOR BIOGRAPHY Discussion Series The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance. Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch! Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work Curtain Call discussions are held after the second Sunday matinee performance. All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465. By Johnathan Tollins Portland Stage Company Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from: The Davis Family Foundation Funded in part by a grant from our Educational Partner, the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.
    [Show full text]
  • Urband '13 Downs Enemy Plane; Meissner '18 Becomes Ace Nine More Deaths in Service Bring Total to Forty-Two Four Cornell Men Wounded, Two Missing, Two Captured
    VOL. XX, No. 40 IPRICE TEN CENTS] AUGUST, 1918 Urband '13 Downs Enemy Plane; Meissner '18 Becomes Ace Nine More Deaths in Service Bring Total to Forty-two Four Cornell Men Wounded, Two Missing, Two Captured The University Likely to Become A Military Camp Professor Crane Describes the Wason Chinese Collection ITHACA, NEW YORK CORNELL ALUMNI NEWS Jas. H. Oliphant & Co. The Mercersburg Academy The Farmers' Loan and ALFRED L. NORRIS, FLOYD W. MUNDY '98 Prepares for all colleges and Trust Company J. NORRIS OLIPHANT Όl J. J. BRYANT, jr.,'98, FRANK L. VANWIE universities; Aims at thorough 16, 18, 20, 22 William St., New York scholarship, broad attainments Branch 475 Fifth Ave. Members New York Stock Exchange and Christian manliness 16 Pal1Ma UEast s w 1 and Chicago Stock Exchange jί 26 Old Broad Street» , E.C. 2 New York Office, 61 Broadway PARIS 41 Boulevard Haussman Chicago Office, 711 The Rookery ADDRESS WILLIAM MANN IRVINE, Ph.D. LETTERS OF CREDIT President FOREIGN EXCHANGES Herbert G. Ogden CABLE TRANSFERS E. E., '97 MERCERSBURG, PA. Attorney and Counsellor at Law Patents and Patent Causes Cascadilla School Going to Ithaca? 120 Broadway New York The Leading Preparatory School for Cornell Use the "Short Line" between Located at the edge of the University campus. Exceptional advantages for Auburn (Monroe St.) and Ithaca college entrance work Congenial living. Better Quicker Cheaper Athletic training. Certificate privilege. Direct connections at Auburn with For information and catalogue address: New York Central Trains for W. D. Funkhouser, Principal Syracuse, Albany and Boston. The Sign of Ithaca, N.
    [Show full text]
  • Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
    Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir.
    [Show full text]