Old Judge Priest
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Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
215269798.Pdf
INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. 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: 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. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
John Ford's Stagecoach
LELAND POAGUE 3 That Past, This Present Historicizing John Ford, 1939 Though its credit sequence features a montage of leisurely move- ments – shots of a stagecoach and its escort moving one way; of U.S. cavalry, then Apache warriors, the other; of the stagecoach again, sans escort, as if returning – Stagecoach proper begins with riders gal- loping hell-bent-for-leather almost directly toward the camera, in a long shot.1 This shot then dissolves to an army outpost on the edge of nowhere, hitching rails to frame left, tents and camp furniture and a flag staff to frame right. A bugle blows. The stars and stripes ascend the pole in the background while the riders pass back-to- front through the frame. A more visually and dramatically central flag raising occurs at the end of Drums Along the Mohawk, another 1939 John Ford film involving frontier outposts, besieged settlers, sinister aristocrats, newborn infants, and courage tested by combat or contest. And it concludes, almost as Stagecoach begins, with a dis- play of the national banner. Few of the Revolutionary-era characters who watch its ascent in Drums have ever seen the flag before; the symbolism of its stars and stripes must literally be explained. And individual “watchers” are picked out by Ford’s camera and cutting to witness its ascent, as if they were watching on our behalf. Claudette Colbert’s Lana Martin thinks the flag is “pretty”; a black woman, Daisy, Mrs. McKlennar’s “servant,” looks up tearfully; Blue Back, a Christian Indian, offers salute; and Henry Fonda’s Gil Martin gets a good eyeful and says it’s “time to get back to work” because there’s a “heap to do from now on.” 82 HISTORICIZING JOHN FORD, 1939 83 It is the work of this essay to investigate the historicity of John Ford’s films and filmmaking in 1939, commonly regarded as Hollywood’s and Ford’s most “spectacularly prolific” year.2 I invoke a portion of that history as prologue in order to acknowledge the necessary partiality of the enterprise. -
Bringing Bogie Ut of the Courtroom Closet: Law and Lawyers in Film Prof Rennard Strickland
4 Bringing Bogie ut of the Courtroom Closet: Law and Lawyers in Film Prof Rennard Strickland Casablanca (19421is a film of mystery and romance. Warner Brothers cultivated that aura of intrigue not only about the place Casablanca but also about the man Rick. His mysterious past is among the reasons Casablanca is ranked by general audi- ences as the most popular American film of all time. Questioning Rick's past seems almost subversive, somehow disloyal, unfair to the memory of Humphrey Bogart. And yet, there is no doubt about it: the mysterious Rick Blaine was a law- yer-a criminal attorney at that! Rick, surely the most famous cine- matic bar owner in history, was also admitted at the bar of justice. Before coming to Casablanca for the waters, Rick had been a practicing attorney first in New York City and then in Paris. The old Hollywood studio system was good at doing what it set out to do; in Casablanca it sought to obscure the past of the man Bogart immortalized on the screen. And Prof. Rennard Strickland the film did just that! It is absolutely impossible from the film itself to estab- lish Rick's legal credentials. Closeting Rick was a deliberate decision by the film's producers. senting themselves. Rick has also taken The proof that Rick was a lawyer has up running a bar and restaurant, the been buried for almost half a century in Law is a kaleidoscopic profession. lawyer's favorite way to personal bank- yellowing corporate files at Warner No doubt lawyers have a great ruptcy. -
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. -
John Ford's Stagecoach Edited by Barry
Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information Index Air Force, 52, 75n Bogart, Humphrey, 25, 91 All Quiet on the Western Front,94 Bogdanovich, Peter, 6, 15, 17, 45n Altman, Rick, 84, 86, 87, 97, 100, Bond, Ward, 57 106–7 Bordwell, David, 106 Anderson, Lindsay, 17, 75n8 Born Reckless,52 Anderson, Marian, 103, 111n34 Breen, Joseph, 66, 157n32 Anderson, Sherwood, 96 Bringing Up Baby, 52, 60 Argosy Pictures, 44 Browne, Nick, 17–18, 168, 172–3 auteurism, 13, 44, 52–3, 56, 75–6n11, Burnham, Michelle, 116–17 84–5, 105–6 Buscombe, Ed, 1, 11, 17, 18–19n4, 35, Authors League of America (ALA), 54 44n1, 78n34 , 87, 92, 162–4 authorship, 13, 18, 48–81 Cagney, James, 25, 31–2, 91 B Westerns, 2, 4, 21, 24, 28–31, 42, Canutt, Yakima, 3, 29, 49 119, 155n5. See also Westerns Canyon Passage,58 Balio, Tino, 34 Capra, Frank, 45n7, 52, 58, 68, 74n6, Bancroft, George, 181, 182 75n11, 98 Barthes, Roland, 16 Captain Blood, 24–5 Bataan, 46n19 captivity narratives, 116–17 Battle of Elderbush Gulch, The, 46n20, Carefree, 52, 60 131n15 Carradine, John, 71, 181 Baxter, John, 17 Carringer, Robert, 49, 74 Baxter, Warner, 31 Cavell, Stanley, 158, 176n1 Bazin, Andre,´ 2, 18, 22 Charge of the Light Brigade, The, 24–5, Beard, Charles, 69 33 Beau Geste (1939), 34 Cheyenne Autumn, 114, 128 Berg, Charles Ramirez, 144 Chief Big Tree, 114 Bernstein, Matthew, 157n32 Churchill, Berton, 28–9, 71, 73, Biberman, Herbert, 55 78n38, 181 Big Jim McLain,5 Cimarron, 23, 91 Big Trail, The,5,23 Citizen Kane,3,49 Binger, -
The John Ford Collection
The John Ford Collection The John Ford collection of manuscripts at the Lilly Library offers a view of Ford's entire motion picture career, from the silent era to his last movie in 1966. The material in this collection was acquired from Ford's children and grandson after his death . It was used extensively, but not exhaustively, by Ford's grandson Dan Ford in writing his biography Pappy: The Life of John Ford and includes much of the research material accumulated by Dan Ford for his book. The collection covers the years from 1906 to 1976 and contains approximately seven thousand items, of which twenty-five hundred are correspondence. John Ford was born Sean Aloysius Feeney in Portland, Maine, in 1895. He changed his name after joining his older brother Fran cis, who had taken the name of Ford, in Hollywood in 1913. He began his career as a prop man, stunt man, and actor, moving to directing in 1917 with a two-reeler entitled The Tornado. He spent the rest of his life directing films, through the transition from silents to sound, making over 130 in all and winning six Academy Awards. From 1917 until 1930 Ford directed at least 66 films, a great many of which were westerns starring the cowboy actor Harry Carey. Early in his career Ford was most often associated with Universal Studio but by the early twenties he was under contract to the Fox Film Corporation (later the Twentieth Century-Fox Film Corporation) until after World War II. It was at Fox that he had his first major success, with The Iron Horse in 1924. -
John Ford Films at Museum
The Museum of Modern Art *>• ** FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart EARLY JOHN FORD FILMS AT MUSEUM Twenty-four early films by one of America's greatest directors, John Ford, will be shown from August 21 through September 28 at The Museum of Modern Art. Dating from 1917 to 1937, the pictures, some of which have not been seen publicly since their original release, have been selected from the Museum's film archive by Adrienne Mancia, Associate Curator, and Larry Kardish, Assistant Curator, Department of Film. John Ford directed more than 130 feature films between 1917 and 1966. He won four Academy Awards for best direction and was honored four times by the New York Film Critics. His credits include "The Iron Horse," "The Lost Patrol," "The Informer," "Stagecoach," "The Grapes of Wrath," "The Long Voyage Home," "My Darling Clementine," "How Green Was My Valley," "Rio Grande," "Mogambo," "Mister Roberts," and "The Man Who Shot Liberty Valence." Among the actors and actresses in "John Ford's Stock Company" were Maureen O'Hara, Henry Fonda, Jane Darwell, Ward Bond, George O'Brien, Anna Lee, Mae Marsh, and a young stunt man named Michael Morrison whom Ford later renamed John Wayne. The Museum's program focuses on Ford's early films, particularly those made for William Fox, which the Museum has preserved by arrangement with 20th Century- Fox. These include his first feature, "Straight Shooting" (1917) and his first Fox picture, "Just Pals" (1920), both films signed "Jack Ford." Also to be shown are "Cameo Kirby" (1923), the first film signed "John Ford"; "Four Sons" (1928), a story of mother love told against the background of World War I; "Up the River" (1930), with Humphrey Bogart and Spencer Tracy at the beginning of their careers. -
The Two Faces of John Ford
84 The two faces of John Ford The Informer (1935) , The Prisoner of Shark Island, (1936), Stagecoach, Young Mr Lincoln, Drums Along the Mohawk (all 1939), The Grapes of Wrath, The Long Voyage Home (both 1940), My Darling Clementine (1946), Fort Apache (1948), She Wore a Yellow Ribbon (1949), Wagon Master (1950), The Sun Shines Bright (1953), The Searchers (1956), The Horse Soldiers (1959), and The Man Who Shot Liberty Valance (1962) Ford will make one film which attacks the American equivalent of fascism – and then the next with a near-fascist message. He’ll make an open-eyed, truthful film one year, and, the next year, one awash with sentimentality and mendacity. For sentimentality and mendacity, The Informer is hard to beat. The problem is, that it’s also a riveting film to watch – in part because of the excellence of its photography (by Joseph H. August, later to photograph The Devil and Daniel Webster ), in part because of the barefaced audacity of its mendacious sentiments. In part, also, because of the way our jaws drop in wonder at the question, just how bad does a performance have to be before it’s deemed unworthy of an Oscar? Victor McLaglen is so clumsy as the film’s halfwit protagonist, he makes Lon Chaney jr.’s turn as Lenny in Of Mice and Men look like a Rembrandt. As with other cases of miscasting, the foolish argument seems to be that having the actor adrift gives a good idea of the character’s disorientation. 1 Betraying his best friend to the Black and Tans for £20, so that his prostitute girlfriend can buy a ticket to America (and happiness), McLaglen has spent £11 of it on booze and unsolicited charity before he knows what’s hit him. -
Film History
Indiana University Press http://www.jstor.org/stable/3815615 . Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=iupress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Film History. http://www.jstor.org FilmHistory, Volume 14, pp. 121-135, 2002. Copyright© John Libbey ISSN:0892-2160. Printedin Malaysia The Catholic Vision in Hollywood:Ford, Capra, Borzage and Hitchcock MarfaElena de las CarrerasKuntz This articleexplores the differentways in which fear of being involvedin anythingevil. I alwaystried a Catholicview of the human conditionis re- to avoid it',he acknowledgedto Truffaut.4 flected in the cinema of John Ford, Frank FrankCapra was the most explicitof the four Borzage, FrankCapra and AlfredHitchcock. -
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IN A LONELY PLACE | 1950 july 5, 2008 FROM THE Director: Nicholas Ray “I make it a point never to see the pictures I write.” Humphrey BOOTH Bogart, for once playing a character with a name worthy of There’s a lot of change afoot as his visage: Dixon Steele, a disgruntled screenwriter who we embark on our 36th year. First speaks exclusively in quips so eloquently constructed yet is obvious: we’re now the Bank of effortlessly caustic that one yearns to read his screenplays. Despite only having recently become a part of it, Nicholas from the booth America Cinema. Although the packaging is different, we haven’t Ray poured an ocean of rage at the Hollywood system into his fourth film as a director—the first scene alone contains changed the recipe, and we’re more vitriol than a dozen viewings of The Player. Adding to still dedicated to showing the the pathos is Ray’s casting of his soon to be ex-wife Gloria finest films classic Hollywood has Grahame as the love interest, which might account for the to offer. Second, after five years most cynical meet-cute in screen history with Bogart as a of programming and projecting, murder suspect and Grahame his alibi. Often pigeonholed Michael King is leaving us for as noir, thanks in no small part to the crackling script and a new job, so say hello to Kyle Bogart’s erratic, electric performance, In a Lonely Place is Westphal and Becca Hall, the the kind of film you could quote all day, and its conflicted takes on domesticity (a subject Ray new faces behind the counter exploded in Bigger Than Life) and Hollywood are illustrated in a couple of early exchanges: Q: “Don’t you like to talk anymore?” A: “Not to people who have my number,” and “There and up in the booth.