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Our Love Affair with Movies
OUR LOVE AFFAIR WITH MOVIES A movie producer and Class of ’68 alumnus recalls the cinematic passions of his senior year—and offers some advice on rekindling the romance for today’s audiences. By Robert Cort crush on movies began on a Around the World was a grand spectacle Louis Jourdan as Gaston realizing how damp November night in 1956. that ultimately claimed the Academy much he loved Gigi and pursuing her Dressed in my first suit—itchy Award for Best Picture. Beyond its exotic through Paris singing, “Gigi, what mir- MY and gray—I sat in the backseat locales, it was my first experience of char- acle has made you the way you are?” of our Oldsmobile as my parents crossed acters attempting the impossible. When Before that scene, what I’d observed the Brooklyn Bridge into Manhattan. At David Niven as Phineas Fogg realized about men and women in love was my Mama Leone’s I tasted Parmesan cheese that crossing the International Date Line parents’ marriage, and that didn’t seem for the first time. Then we walked a few had returned him to London on Day 80, something to pine for. blocks to the only theater in the world the communal exuberance was thrilling. Three Best Pictures, three years in a playing the widescreen epic comedy- A year later my brother took me to an- row: the thrill of daring men in the wide, adventure, Around the World in 80 Days. other palace, the Capitol Theater, for The wide, Todd-AO world; the horrors that I was already a regular at Saturday Bridge on the River Kwai. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U. -
Mid-Century Modern and Florida Tropical Architecture Emily Mason College of Design, Construction and Planning, University of Florida
ISSN: 2683-0668 ____________________________________________________ Rufus Nims: Mid-century Modern and Florida Tropical Architecture Emily Mason College of Design, Construction and Planning, University of Florida Faculty mentor: Vandana Baweja, School of Architecture Abstract Mid-century modern architecture developed after the Second World War as numerous technological advancements allowed for open house plans with the increased use of glass and a reconfiguration of indoor-outdoor relationships. Rufus Nims, a Miami architect (1913–2005), hybridized emerging ideas of mid-century modernism with climatic design that emerged in the field of tropical architecture after the Second World War. Nims experimented with homes that had disappearing walls; and that could be comfortable in the hot and humid climate of Florida. This paper will analyze Rufus Nims’ role in the development of Florida Tropical Architecture, through his seamless integration of indoor and outdoor spaces. Further, this study will assess how Rufus Nims used tropical architecture strategies in South Florida, such as screened-in porches, disappearing walls, and landscape integration. The paper argues that Rufus Nims’ architectural ideas were based on an emerging redefinition of the indoor-outdoor spatial relationships as was evident in the broader mid-century modern movement and Florida Tropical Architecture. Introduction Mid-century Modern In Europe, the modernism movement began after the First World War with a need to industrialize the building production process, minimize the cost of construction, and provide a livable home designed for human habitation.1 Architects from Germany including Walter Gropius, Marcel Breuer, and Mies van der Rohe came to America during the 1930s at Harvard and changed Harvard’s emphasis from Beaux-Arts Architecture to Bauhaus modernism. -
Modern Architecture in California
Modern architecture in California Arranged by the Department of Architecture of the Museum of Modern Art, arranged for circulation by the Department of Circulating Exhibitions Date 1935 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2081 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MODERN ARCHITECTUREIN CALIFORNIA The Museum of Modern Art,New York HORARY J&jf'.asi cJ 'foaOrfl Art ARCHIVE PLEASERETURN TO OFFICE'>'e 1 0N HOE WHEELcH i PYI^Si DEPT. MODERN ARCHITECTUREIN CALIFORNIAARRANGED BY THE DEPARTMENTOF ARCHITECTUREOF THE MUSEUM OF MODERN ART Committee Philip L. Goodwin,Chairman ProfessorHenry-Russell Hitchcock, Jr. GeorgeHowe Dr. JosephHudnut Philip Johnson i AlfredH. Parr, Jr., Directorof the Museum ErnestineM. Fantl,Staff Member in Chaige Arrangedfor circulationby the Departmentof CirculatingExhibitions. For informationregarding other travellingeHubicions please write to Miss Elodie Courter,Secretary, ment of CirculatingExhibitions, Museum ot Modern Ait, 11 West 53 Street,New York, N.Y. oma * H 5- MODERN ARCHITECTURE IN CALIFORNIA FOREWORD Modern architecture in California is conspicuous for two reasons: the number and variety of the influences which have shaped its expression,and the opportunities for actual constructionwhich it has enjoyed. xne peculiar ebullience of the state which has produced the EPIC movement, the Vigilantes, Hollywood, the Four Square Gospel, the Red Menace and the Yellow Peril, has resulted in the encouragementof experimentalana reactionary ideas in architecture,as well as in poli tics, religion and entertainment. -
1945-11-07 [P A-16]
curred if any of the odd people in- leu 15-minute episodes and launched accent for the French technical di- sian of 1876, but it is good Boyer,” at volved had once hinted at the truth on the radio, it could be used to sell rector of "Centennial Summer,” the and that’s the way itll be in the 'This Love of Ours’ Keith’s is a cad and probably not fit to see soap for years to come. adviser said, "It isn't exactly Pari- picture. By HARRY Mac ARTHUR. "THIS LOVE OP OURS," • Universal such sentimental goings on as "This picture with Merle Oberon and Charles Love of Ours." Is Model AMUSEMENTS. AMUSEMENTS. Nation’s Postwar Mess Makes As nearly as can be determined Korvln, produced by Howard Benedict, di- Boyer rected by William Dieterle, screenplay by ■ Melodramatic* of love such as are By the Associated Press. from a single exposure to it, "This Bruce Mannlni and John Klorer, based set forth here are the sort of Love of Ours,” which opened yes- on the play by Intel Pirandello. At thing HOLLYWOOD. Keith's. actors and actresses must love French for scenes in mo- Hit of the Season terday at Keith’s, Is a violent attack THE CAST. dearly, Talking Merle Sue Comedy on leaping to conclusions when you Karin. _Merle Oberon and Oberon, England and tion pictures isn’t just talking By JAY CARMODY. tousee_Charles Korvln Charles Korvin their roles not French. It isn’t that Because learn that your wife has been spend- niwal _Claude Rains play easy. -
1 \^Ith D Brownsville a and B Valley D Theaters 1
1 \^ith D Brownsville a and B Valley D Theaters 1 COMEDY RIOT STARS OF FILM WILL IS ADVISING I IN ‘OUR BETTERS’ HaewaHHBBBMT «ws\ iteS And the big laugh riot ‘"Riey Just Had to Get Married”, featuring fSUm Summerville and Zasu Pitts, the great laugh team. Showing Tuesday and Wednesday at the Capitol. Brownsville. Constance Bennett and Gilbert Roland in “Our Betters’* showing to- day and Monday at the Rivoli Theatre. San Benito. Dick Powell. Marion Nixon and Will Rogers in “Too Busy to Work," “THE showing Tuesday and Wednesday at V\e Rivoli Theatre. San Benito. GREAT JASPER’1 stalwart young leading man Is cast as Lieut. B F. Pinkerton. Charlie LAW ON I'AROLE GIRL’S TRAIL THRILLS ARE Ruggles has an effective comedy ummm mmmrn " role especially written into the pic- ture for him. Irving Pu^el Is a con- APLENTY IN vincing menaco’. Pistol Shoot Sunday (Special to The Herald • FILM HARLINGEN. March 25 —The QUEEN_ last preliminary pistol shoot before the record shoot of April 9. is ex- Edward G. Robinson and Bebe Daniels in “Silver Dollar." showing Ha* ‘Lucky Devil*’ pected to be held by reserve of- Thursday and Friday at the Rivoli Theatre, San Benito. Bill In ficers of the Valley at A< Boyd Gardens Sunday. Lead Role In April the officers will PRIVATE JONES (SPITFIRE TRACY) for medals offered by a San tonic firm. Dare-devil stunts performed by w. nos men with charmed lives make Richard Dix In a new screen hit The Great "MARRIAM again Jasper" supported Lucky Devils,' Bill Boyd's new RKO by Wera Engels and Edna May Oliver. -
Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships. -
Ralph Bellamy Papers, 1926-1982 (Bulk 1980-1982)
http://oac.cdlib.org/findaid/ark:/13030/kt5290381r No online items Finding Aid for the Ralph Bellamy papers, 1926-1982 (bulk 1980-1982) Processed by Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney, Julie Graham and Caroline Cubé. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Ralph Bellamy 224 1 papers, 1926-1982 (bulk 1980-1982) Descriptive Summary Title: Ralph Bellamy papers, Date (inclusive): 1926-1982 Date (bulk): (bulk 1980-1982) Collection number: 224 Creator: Bellamy, Ralph, 1904-1991 Extent: 2 boxes (1 linear ft.) Abstract: Ralph Bellamy has acted on stage, film, and motion pictures. The collection consists primarily of materials related his role in the television mini series Winds of War, including scripts as well as production and press material. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Architecture You LOVE Monday, May 15, 2017
From: North Carolina Modernist Houses <[email protected]> on behalf of North Carolina Modernist Houses <[email protected]> Sent: Monday, May 15, 2017 9:53 AM To: [email protected] Subject: Thursday T4A Leo Gaev / New: Fallingwater Tour / USMR: Capurro-Hodge-Davis Connect with Mr.Modernism's Instagram feed and get daily doses of incredible Modernist houses from NCMH's Executive Director George Smart. Architecture You LOVE Is this email not displaying correctly? View it in your browser. Monday, May 15, 2017 "Like" Us Tweet Us Share Us Modernist Houses For Sale or Rent. Keeping Modernist houses occupied is the best way to preserve NCMH travelled to London, Brussels, Antwerp, Rotterdam, The them! Check this Hague, and Amsterdam last week with 25 architectural exclusive statewide adventurers just like you! Here we are outside Zaha Hadid's new list. port building addition in Antwerp, Belgium. To get first dibs on next year's trip to Shanghai and Hong Kong, plus discounts on most local tours, plus free admission to this year's Modern Homes Architecture Movie Series, and more, join the Mod Squad! Thirst4Architecture, this Thursday, May 18, 6-8pm, Leo Gaev Metalworks, 102 Lloyd Street, Carrboro, celebrating ten years in the Triangle! This exciting, informal happy hour is free and open to the public. We welcome Modernist homeowners, architects, artists, designers, realtors, engineers, contractors, property investors, building managers, materials and furniture dealers – or anyone with a huge crush on great architecture. 2017 T4A's are sponsored by realtor Lesley McAdams. Free! Details! New: The Frank Lloyd Wright/Fallingwater Tour, Thursday- Friday, September 14-15. -
His Girl Friday (1940)
Conversations about great films with Diane Christian & Bruce Jackson HOWARD HAWKS (30 May 1896, Goshen, Indiana—26 December 1977, Palm Springs, California, aftermath of a fall) directed 47 films (and was producer on most of them) and wrote 24 screenplays. The last film he directed was Rio Lobo 1970; his first was Road to Glory 1926. Some of the others were: Man's Favorite Sport? (1964), Hatari! (1962), Rio Bravo (1959), Land of the Pharaohs (1955), Gentlemen Prefer Blondes (1953), I Was a Male War Bride (1949), A Song Is Born (1948), Red River (1948), The Big Sleep (1946), To Have and Have Not (1944), Sergeant York (1941), Only Angels Have Wings (1939), Bringing Up Baby (1938), Come and Get It (1936), Barbary Coast (1935), Twentieth Century (1934), Scarface (1932), and The Dawn Patrol (1930). He won an honorary Oscar in 1975. BEN HECHT (28 February 1894, New York City—18 April 1964, NYC, HIS GIRL FRIDAY (1940). 92 min thrombosis) wrote or co-wrote 128 screenplays, half of them uncredited. Produced and directed by Howard Hawks Some of them are Cleopatra (1963), Mutiny on the Bounty (1962), Walk on Based on the play, “The Front Page,” by Ben Hecht the Wild Side (1962), A Farewell to Arms (1957), Miracle in the Rain and Charles MacArthur (1956), The Court-Martial of Billy Mitchell (1955), The Man with the Screenplay by Charles Lederer Golden Arm (1955), Guys and Dolls (1955), Rope (1948), The Miracle of Cinematography by Joseph Walker the Bells (1948), Ride the Pink Horse (1947), Kiss of Death (1947), Duel in the Sun (1946), Notorious (1946), Gilda (1946), Spellbound (1945), Cary Grant ...Walter Burns Lifeboat (1944), The Outlaw (1943), Gone with the Wind (1939), Wuthering Rosalind Russell ...Hildegaard 'Hildy' Johnson Heights (1939), Stagecoach (1939), Angels with Dirty Faces (1938), Ralph Bellamy ...Bruce Baldwin Barbary Coast (1935), Viva Villa! (1934), Scarface (1932), and The New Gene Lockhart ...Sheriff Peter B. -
3 Term—Day—Time: Spring 2021—Tuesdays—10:00Am-12:50
TOPICS IN MODERN ARCHITECTURE IN SOUTHERN CALIFORNIA ARCH 404 Units: 3 Term—Day—Time: Spring 2021—Tuesdays—10:00am-12:50pm Location: ZOOM Instructor: Kenneth Breisch Office Hours: Tuesdays—2-3pm or by appointment Contact Info: [email protected] (I will respond to emails/voicemails within 24 hours Monday-Friday, and on the Monday following a weekend or holiday break) Class Assistant: Ani Mnatsakanyan Contact Info: [email protected] COURSE DESCRIPTION There are few regions in the world where it is more exciting to explore the scope of twentieth-century architecture than in Southern California. It is here that European and Asian influences combined with the local environment, culture, politics and vernacular traditions to create an entirely new vocabulary of regional architecture and urban form. Lecture topics range from the stylistic influences of the Arts and Crafts Movement and European Modernism to the impact on architecture and planning of the automobile, World War II, or the USC School of Architecture during the 1950s. LEARNING OBJECTIVES By the end of this course, students will be able to: 1. read and interpret architectural plans, sections and elevations 2. Identify major periods of development and architects in the history of Southern California architecture, planning and landscape design from prehistory to the present day 3. Critically analyze the relationship between architectural or landscape forms (sometimes identified with the idea of style) and the cultural, political and economic forces that shaped them PREREQUISITE(S): Students in this class come from a broad range of disciplines, some of whom will have a background in architecture, but this is not necessary to take this class.