DOCSLIB.ORG

PAT O'brien (William Joseph Patrick O'brien) Filmografia Essenziale Dal 1942 Al 1981

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PAT O'brien (William Joseph Patrick O'brien) Filmografia Essenziale Dal 1942 Al 1981 PAT O'BRIEN (William Joseph Patrick O'Brien) Filmografia essenziale dal 1932 al 1940 ANNO TITOLO TITOLO ORIGINALE REGIA VOTO 1932 L' AEROPORTO DEL DESERTO AIR MAIL JOHN FORD 7 1932 IL DELITTO DI CLARA DEANE THE STRANGE CASE OF CLARA DEANE L. J. GASNIER • M. MARCIN 6,5 1932 LA FOLLIA DELLA METROPOLI AMERICAN MADNESS FRANK CAPRA 7,5 1932 LA MASCHERA DEL PECCATO VIRTUE EDWARD BUZZELL 6,5 1933 L' ALLENATORE DEL COLLEGE COLLEGE COACH WILLIAM A. WELLMAN 6,5 1933 ARGENTO VIVO BOMBSHELL VICTOR FLEMING 8 1933 LAUGHTER IN HELL IDEM EDWARD L. CAHN 6,5 1934 MARINAI ALL' ERTA HERE COMES THE NAVY LLOYD BACON 6,5 1934 PASSEGGIATA D' AMORE FLIRTATION WALK FRANK BORZAGE 7 1934 L' ULTIMA CARTA GAMBLING LADY ARCHIE MAYO 7 1934 L' UNIVERSO INNAMORATO TWENTY MILLION SWEETHEARTS RAY ENRIGHT 7 1935 COLPO PROIBITO THE IRISH IN US LLOYD BACON 7 1935 I DIAVOLI IN PARADISO DEVILS DOGS OF THE AIR LLOYD BACON 6,5 1935 FOLLIA MESSICANA IN CALIENTE LLOYD BACON 6 1935 LA LAMPADA CINESE OIL FOR THE LAMPS OF CHINA MERVYN LE ROY 6,5 1936 ALI SULLA CINA CHINA CLIPPER RAY ENRIGHT 7 1936 BRUME CEILING ZERO HOWARD HAWKS 7 1936 LA MOGLIE DEL NEMICO PUBBLICO PUBLIC ENEMY'S WIFE NICK GRINDE 6 1937 ALTA TENSIONE SLIM RAY ENRIGHT 7 1937 SOTTOMARINO D-1 SUBMARINE D-1 LLOYD BACON 6 1938 GLI ANGELI CON LA FACCIA SPORCA ANGELS WITH DIRTY FACES MICHAEL CURTIZ 8,5 1939 L' ASSASSINO E` IN CASA SLIGHTLY HONORABLE TAY GARNETT 6,5 1940 IL CASTELLO SULL' HUDSON CASTLE ON THE HUDSON ANATOLE LITVAK 7,5 1940 I FUCILIERI DELLE ARGONNE THE FIGHTING 69TH WILLIAM KEIGHLEY 7,5 1940 INDIETRO NON SI TORNA ESCAPE TO GLORY JOHN BRAHM 6,5 1940 TROVARSI ANCORA TIL WE MEET AGAIN EDMUND GOULDING 7 1940 ZONA TORRIDA TORRID ZONE WILLIAM KEIGHLEY 7 www.eurodeon.it PAT O'BRIEN (William Joseph Patrick O'Brien) Filmografia essenziale dal 1942 al 1981 ANNO TITOLO TITOLO ORIGINALE REGIA VOTO 1942 LA MARINA E` VITTORIOSA THE NAVY COMES TROUGH EDWARD SUTHERLAND 6 1942 OMBRE DI BROADWAY BROADWAY WILLIAM A. SEITER 6,5 1943 19° STORMO BOMBARDIERI BOMBARDIER RICHARD WALLACE 7,5 1943 LE CONSEGUENZE DI UN BACIO HIS BUTLER'S SISTER FRANK BORZAGE 7 1943 IL MAGGIORE DI FERRO THE IRON MAJOR RAY ENRIGHT 7 1944 L' AZIONE CONTINUA MARINE RAIDERS HAROLD SCHUSTER 6 1944 COMANDO SEGRETO SECRET COMMAND EDWARD SUTHERLAND 6,5 1945 IL FANTASMA VIVO MAN ALIVE RAY ENRIGHT 7 1946 LA BANDA DEI FALSIFICATORI CRACK-UP IRVING REIS 6,5 1946 VACANZE PERICOLOSE PERILOUS HOLIDAY EDWARD H. GRIFFITH 7,5 1947 RIFF-RAFF - L' AVVENTURIERO DI PANAMA RIFFRAFF TED TETZLAFF 6,5 1948 DOMANI SARANNO UOMINI FIGHTING FATHER DUNNE TED TETZLAFF 7 1948 IL RAGAZZO DAI CAPELLI VERDI THE BOY WITH GREEN HAIR JOSEPH LOSEY 7,5 1950 LO SPACCONE VAGABONDO THE FIREBALL TAY GARNETT 6,5 1951 AVVOCATI CRIMINALI CRIMINAL LAWYER SEYMOUR FRIEDMAN 6,5 1951 OMERTA` THE PEOPLE AGAINST O' HARA JOHN STURGES 7 1954 IL CIRCO DELLE MERAVIGLIE RING OF FEAR JAMES E. GRANT 7 1954 LA GRANDE CAROVANA JUBILEE TRAIL JOSEPH KANE 6,5 1956 LA CITTA` CORROTTA INSIDE DETROIT FRED F. SEARS 6 1958 L' ULTIMO URRA` THE LAST HURRAH JOHN FORD 8 1959 A QUALCUNO PIACE CALDO SOME LIKE IT HOT BILLY WILDER 9,5 1962 ASTRONAUTI PER FORZA THE ROAD TO HONG KONG NORMAN PANAMA 6,5 1965 LA CITTA` SENZA LEGGE TOWN TAMER LESLEY SELANDER 7 1972 JOHNNY BRISTOL TORNA A CASA WELCOME HOME, JOHNNY BRISTOL GEORGE MC COWAN 7 1978 LA FINE...DELLA FINE THE END BURT REYNOLDS 7,5 1981 RAGTIME IDEM MILOS FORMAN 7,5 www.eurodeon.it.
Load more

Recommended publications
  • Boxoffice Records: Season 1937-1938 (1938)
    ' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J.
    [Show full text]
  • Silhouettes of Stars, Players, and Directors of Warner Bros. Pictures
    library! THE MUSEUM 0F MODERN ART j Received: Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from John McElwee Digitized by the Internet Archive in 2014 https://archive.org/details/silhouettesofstaOOunse I : SILHOUETTES Of Stars, Players, and Directors Of WARNER BROS. PICTURES, INC. LIBRARY THS MUSEUM OF MODERN ART Received: From in ?2 WARNER BROS. PICTURES, INC. jT* 321 West 44th Street New York City PRINTED IN U.S.A. FL >l 5-3 FOREWORD This unpretentious volume contains a wealth of material in bio- graphical form covering all important stars, players, and directors of Warner Bros. Pictures, Inc. It should be invaluable to the motion picture editor, or to anyone doing editorial work pertaining to motion pictures. This volume went to press in October, 1937. All data, therefore, is up-to-date, and most of it is accurate for several months to come. You will note that the end of each biography contains the list of pictures the player has been featured in. It is suggested that you — the editor — may keep each biography up to the minute as to performances by adding each new picture a star is cast in, as you receive a new announcement. TABLE OF CONTENTS How It All Began 1 Nagel, Anne 125 STARS AND PLAYERS O'Brien, Pat 127 O'Connell, Hugh 130 Acuff, Eddie 8 Oliver, Gordon 132 Aherne, Brian 9 O'Neill, Henry 134 Baker, Kenny 12 Perry, Linda 136 Blondell, Joan 16 Powell, Dick 138 Blondell, Gloria 20 Purcell, Dick 141 Bogart, Humphrey
    [Show full text]
  • Absent Presence: Women in American Gangster Narrative
    Absent Presence: Women in American Gangster Narrative Carmela Coccimiglio Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for a doctoral degree in English Literature Department of English Faculty of Arts University of Ottawa © Carmela Coccimiglio, Ottawa, Canada, 2013 TABLE OF CONTENTS Abstract iii Acknowledgements v Introduction 1 Chapter One 27 “Senza Mamma”: Mothers, Stereotypes, and Self-Empowerment Chapter Two 57 “Three Corners Road”: Molls and Triangular Relationship Structures Chapter Three 90 “[M]arriage and our thing don’t jive”: Wives and the Precarious Balance of the Marital Union Chapter Four 126 “[Y]ou have to fucking deal with me”: Female Gangsters and Textual Outcomes Chapter Five 159 “I’m a bitch with a gun”: African-American Female Gangsters and the Intersection of Race, Sexual Orientation, and Gender Conclusion 186 Works Cited 193 iii ABSTRACT Absent Presence: Women in American Gangster Narrative investigates women characters in American gangster narratives through the principal roles accorded to them. It argues that women in these texts function as an “absent presence,” by which I mean that they are a convention of the patriarchal gangster landscape and often with little import while at the same time they cultivate resistant strategies from within this backgrounded positioning. Whereas previous scholarly work on gangster texts has identified how women are characterized as stereotypes, this dissertation argues that women characters frequently employ the marginal positions to which they are relegated for empowering effect. This dissertation begins by surveying existing gangster scholarship. There is a preoccupation with male characters in this work, as is the case in most gangster texts themselves.
    [Show full text]
  • David L. Smith Collection Ca
    Collection # P 0568 OM 0616 CT 2355–2368 DVD 0866–0868 DAVID L. SMITH COLLECTION CA. 1902–2014 Collection Information Biographical Sketch Scope and Content Note Series Contents Processed by Barbara Quigley and Courtney Rookard February 27, 2017 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 6 boxes of photographs, 1 OVA graphics box, 1 OVB COLLECTION: photographs box, 4 flat-file folders of movie posters; 1 folder of negatives; 9 manuscript boxes; 7 oversize manuscript folders; 1 artifact; 14 cassette tapes; 3 CDs; 1 thumb drive; 18 books COLLECTION 1902–2014 DATES: PROVENANCE: Gift from David L. Smith, July 2015 RESTRICTIONS: Any materials listed as being in Cold Storage must be requested at least 4 hours in advance. COPYRIGHT: The Indiana Historical Society does not hold the copyright for the majority of the items in this collection. REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED HOLDINGS: ACCESSION 2015.0215, 2017.0023 NUMBER: NOTES: BIOGRAPHICAL SKETCH David L. Smith is Professor Emeritus of Telecommunications at Ball State University in Muncie, Indiana, where he taught for twenty-three years. He is the author of Hoosiers in Hollywood (published by the Indiana Historical Society in 2006), Sitting Pretty: The Life and Times of Clifton Webb (University Press of Mississippi, 2011), and Indianapolis Television (Arcadia Publishing, 2012). He was the host of a series called When Movies Were Movies on WISH-TV in Indianapolis from 1971–1981, and served as program manager for the station for twenty years.
    [Show full text]
  • Guide to the Ernie Smith Jazz Film Collection
    Guide to the Ernie Smith Jazz Film Collection NMAH.AC.0491 Ben Pubols, Franklin A. Robinson, Jr., and Wendy Shay America's Jazz Heritage: A Partnership of the The Lila Wallace- Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies. 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical...................................................................................................................... 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Ernie Smith Presentation Reels................................................................ 4 Series 2: Additional Titles.....................................................................................
    [Show full text]
  • Collezione 16Mm
    Elenco pellicole collezione “16mm GEH” TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI 20.000 YEARS IN SING SING 20.000 YEARS IN SING SING Michael Curtiz USA 1932 16 3 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 3 GODFATHERS 3 GODFATHERS John Ford USA 1948 16 3 3 MEN IN WHITE THREE IN WHITE Willis Goldbeck USA 1944 16 2 36 HOURS 36 HOURS George Seaton USA 1965 16 4 42ND STREET 42ND STREET Lloyd Bacon USA 1933 16 3 7 FACES OF DR. LAO 7 FACES OF DR. LAO George Pal USA 1964 16 3 7 WOMEN 7 WOMEN John Ford USA 1966 16 3 A CHRISTMAS CAROL A CHRISTMAS CAROL Edwin L. Marin USA 1938 16 2 A DATE WITH JUDY A DATE WITH JUDY Richard Thorpe USA 1948 16 3 A DAY AT THE RACES A DAY AT THE RACES Sam Wood USA 1937 16 3 A FAMILY AFFAIR A FAMILY AFFAIR George B. Seitz USA 1937 16 2 Elenco pellicole collezione “16mm GEH” Pagina 1 TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI A FREE SOUL A FREE SOUL Clarence Brown USA 1931 16 3 A GUY NAMED JOE A GUY NAMED JOE Victor Fleming USA 1943 16 3 A KISS IN THE DARK A KISS IN THE DARK Delmer Daves USA 1949 16 3 A LIFE FOR A LIFE A LIFE FOR A LIFE Stephen Whittaker UK 1998 16 2 A MIDSUMMER NIGHTʼS DREAM A MIDSUMMER NIGHTʼS DREAM William Dieterle, Max Reinhardt USA 1935 16 3 A MODERN HERO A MODERN HERO G.W.
    [Show full text]
  • Dancing Lady Robert Z. Leonard M-G-M USA 1933 16Mm 5/6/1972
    Listed Screening Season Title Director Studio Country Year Format runtime Date Notes Dancing Lady Robert Z. Leonard M-G-M USA 1933 16mm 5/6/1972 The first screening ever! 11/25/1972 Per Trib article from 11/23/1972, "our meeting this Saturday will be our last until after the Holidays" Go Into Your Dance Archie Mayo Warner Bros. USA 1935 16mm 1/18/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Sunny Side Up David Butler Fox Film Corp. USA 1929 16mm 1/25/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Shall We Dance Mark Sandrich RKO USA 1937 16mm 2/1/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 You'll Never Get Rich Sidney Lanfield Columbia USA 1941 16mm 2/8/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for A Night at the Opera Stand-In Tay Garnett United Artists USA 1937 16mm 2/15/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for No Man Of Her Own Now And Forever Henry Hathaway Paramount USA 1934 16mm 2/22/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 Spy Smasher Returns William Witney Republic USA 1942 16mm 3/1/1975 per Chuck Schaden's Nostalgia Newsletter 3/1975 - subbed in for Sing You Sinners White Woman Stuart Walker Paramount USA 1933 16mm 3/8/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Broadway Gondolier Lloyd Bacon Warner Bros. USA 1935 16mm 3/15/1975 per Chuck Schaden's Nostalgia Newsletter 4/1975 Argentine Nights Albert S.
    [Show full text]
  • Wie Heterosexualität Beworben Wird
    125 Mary Beth Haralovich Wie Heterosexualität beworben wird. Liebesbeziehungen auf Plakaten der klassischen Hollywood-Ära1 Ein Mann und eine Frau treffen sich; ihr Liebeswerben beginnt. Doch verläuft der Pfad der wahren Liebe bekanntlich niemals geradeaus, und die Annäherung verzögert sich. Schließlich lösen sich die Probleme in ei- ner Umarmung auf. Das heterosexuelle Paar ist vereint, und wenn es nicht gestorben ist, dann dürfen wir davon ausgehen, dass es noch heute glücklich zusammenlebt. Fast jeder Hollywood-Film baut solche For- meln in seine narrative Struktur ein. Amouröses Verhalten tritt dabei auf verschiedene Weise in Erscheinung: als Liebesgeschichte, als romanti- sche Liebe oder auch als Problem der Paarbildung (vgl. Lesage 1974; Bergstrom 1979). Die Allgegenwart des Liebesmotivs im Erzählkino weist der hetero- sexuellen Beziehung eine herausgehobene Stellung in unserer Kultur zu. Wie Steve Neale bemerkt hat, sind die Praktiken des Mainstream-Kinos «auf massive Art und Weise dominant, und sie entwickeln deshalb eine gesellschaftliche Präsenz und eine Wirkungsmacht, die über diejenige anderer Kunstformen bei weitem hinausgehen» (Neale 1980, 19). Die Kultur, in der wir leben, wird von Darstellungen heterosexueller Begeg- nung dominiert, deren Vorgaben Männer und Frauen gleichermaßen un- terworfen sind. Um die von Hollywood verbreiteten Bilder heterosexueller Liebe und ihre kulturelle Funktion zu beleuchten, muss die Analyse zwei Wege beschreiten. Eine textuelle Analyse von Hollywood-Produktionen aus der Zeit des Studiosystems soll zunächst Aufschluss über die Vor- stellungen von Heterosexualität im damaligen Kino geben. Eine Unter- suchung der Produktionsumstände soll sodann das historische Umfeld erhellen, aus dem sich die bildliche Präsentation heterosexueller Bezie- hungen erklärt. Ich werde mich dabei vorwiegend auf die Filmplakate konzentrieren.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 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 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) 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.
    [Show full text]
  • Arizona Filmography
    7/20/2004 Arizona Filmography Arizona Film Office 2003 Feature Mona Lisa Smile Columbia Tri-Star / Revolution Films Director Mike Newell Arizona Locations: Parker (Hwy 60 & 72 near Vicksburg) Producer Starring: Julia Roberts, Dirsten Dunst, Julia Stiles Exec. Telefeature Hard Ground LLP (Larry Levinson Productions) Director Frank Dobbs Arizona Locations: Lake Havasu City Producer Starring: Burt Reynolds, Bruce Dern Producer Randy Pope, Lincoln Lageson Exec. Larry Levinson 2002 Feature Charlie's Angels II Columbia Pictures Director Arizona Locations: Page (Glen Canyon Dam, Glen Canyon Bridge) Producer Exec. Confessions Of A Dangerous Mind Mad Chase Productions Studio: Miramax Director George Clooney Arizona Locations: Tucson, Nogales Arizona, Nogales Sonora Mexico Producer Sudzin Starring: George Clooney, Drew Barrymore, Sam Rockwell, Julia Roberts, Brad Pitt Producer Andre Lazar, Steven Reuther, Jeffrey Exec. George Clooney, Stephen Evans (I), Angus Finney Destiny Destiny Productions Studio: Independent Director Katherine Makinney Arizona Locations: Phoenix, Flagstaff Producer Tom Tangen, Mitch Teemley Starring: Jerri Manthey, Stephanie Feury, Todd Cahoon, Tom Tangen, Nancy Stafford Producer Dominic Cianciolo, Michael C. Edwards, Exec. 1 Saguaro Ranch Summer Westpark Productions Director Joey Travolta Arizona Locations: Prescott (Courthouse, Hwy.), Phoenix (Saguaro Lake Guest Ranch) Producer Exec. The Brothel Mt. Parnassus Pictures/Emerging Pictures Studio: Independent Director Amy Waddell Arizona Locations: Jerome, Sedona, Cottonwood Producer Starring: Serena Scott-Thomas, Grace Zabriskie, Whip Hubley, Bruce Payne Producer Amy Waddell, Wade Danielson Exec. The Incredible Hulk Universal Pictures Director Arizona Locations: Page (Lake Powell) Producer Exec. The Reckoning VIG Global Capital, Inc. Director Dustin Rikert Arizona Locations: Tucson (Old Tucson) Producer Starring: Gary Busey Producer Renee Roland Exec.
    [Show full text]
  • Cinema Dance: the Evelopmed Nt of an Art Form As Defined Yb Busby Berkeley's Work with the Hollywood Musical During the Great Depression Carol Bender
    University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 2-9-2010 Cinema Dance: The evelopmeD nt of an art form as defined yb Busby Berkeley's work with the Hollywood musical during the Great Depression Carol Bender Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Bender, Carol. "Cinema Dance: The eD velopment of an art form as defined by Busby Berkeley's work with the Hollywood musical during the Great Depression." (2010). https://digitalrepository.unm.edu/thea_etds/1 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Carol Bender Candidate Theatre and Dance Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: , Chairperson CINEMA DANCE: THE DEVELOPMENT OF AN ART FORM AS DEFINED BY BUSBY BERKELEY’S WORK WITH THE HOLLYWOOD MUSICAL DURING THE GREAT DEPRESSION BY CAROL BENDER BACHELORS OF ARTS, DANCE UNIVERSITY OF NEW MEXICO, MAY 14, 2005 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Theatre and Dance The University of New Mexico Albuquerque, New Mexico December, 2009 ii ACKNOWLEDGMENTS I heartily acknowledge Brian Eugenio Herrera for continuing to encourage me. Your guidance will remain with me as I continue my intellectual pursuit in the arts. I also thank my committee members, Mary Anne Santos Newhall, Jennifer Predock-Linnell, and Donna Jewell, for their support and assistance in my professional development.
    [Show full text]
  • 1948-04-02, [P ]
    n * Friday* April 2, 1948 TOLEDO UNION JOURNAL. >Page Five Chic Chapeau Fihnii To Tell | Story Of Radio HOLLYWOOD — “Radio Cavalcade,” the story Of thei . a- '^'1 ' nation’s radio industry fro its crystal set beginnings to its pres­ ent vital status in the daily lives jxi- of the American people, will be! brought to the screen by Colum* “Romantic” Given Suit Yourself “Dream Girl” Photo bia Picturs in association with Top Musical Score “Romantic” Starts Contest Extended ' -■£_£->! *K'^>.3 j Jerrold T. Brandt. A film treat­ ment is in preparation by Emmet HOLLYWOOD — Comp lete HOLLYWOOD — Closing date »'<K ' ' Lavery. musical score for Paramount's At Paramount; 4 ,- ;/r £,>,'!*»,•>' new comedy with music, “Isn’t of the General Camera Com­ ii it The four chief radio networks pany’s “Dream Girl” Photo Con­ will lend their cooperation to the It Romantic?” will feature five More To Cj-'M-S’?}...... film, an advisory committee new tunes from the hit-writing Set Roll test has been extended to August K-<-.- team of Jay Livingstone and Ray 25, 1948, due to the tremendous having seen formed with Justin HOLLYWOOD—“Isn’t it Romantic?”, all-star comedy with Miller, president of the National Evans in addition to the well- response already received from known Rogers and Hart title music, went before the cameras at Paramount last week, mark­ Association of Broadcasters, in ing increased activity on the lot which will seee four additional thousands of shutterbugs. charge. melody, which first was intro­ duced by Maurice Chevalier in important productions under way soon.
    [Show full text]