Frank Sinatra Part 26 of 29

Total Page:16

File Type:pdf, Size:1020Kb

Frank Sinatra Part 26 of 29 FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECT: FRANK SINATRA Los Angeles le:100-41413 Secti0n:Sub A FEDERAL BUREAU OF INVESTIGATION THE BEST COPY OBTAINABLE IS INCLUDED IN THE REPRODUCTION OF THESE DOCUMENTS. PAGES INCLUDED THAT ARE BLURRED, LIGHT, OR OTHERWISE DIFFICULT TO %AD AEE THE RESULT OF THE CONDITION OF THE ORIGINAL DOCUMENT. NO BETTER COPY CAN BE REPRODUCED. Freedom of Information and Privacy Acts Release of Subject: Frank Sinatra File #: LA 100-41413 Section Sub A v-,p92q_~~7 ,§r¢;¢Ii1;0r"4 13- 4 31&#39; ii ~"1m.W or 1 O §q-"p&#39; Federal Bureauof Investigation 92- ::A92,,..,l:V-- .,,.-: ,___$-.£;=:>§.&#39;.{g: ~13 5K &#39;; -. _. -1 3 _. "".;"5 ~ ____&#39;.. -:1 1 photqatgtic copies of flit &#39;E? -9 Isooklét ém?;11;1e¢1 "Comp1§te /;2?f> if insert for rept on FHA -. YMCA Credit rapt aon FRANK 6. "Peop1es&#39; Vbice", 12/29/Q5; f T. "The Independent", 2/13/Q6 3. Phctostatic copy or Hy D serial 28- H. , 9. HY Jofnal art1c1¬t§su of 92 in.-1!;_ 10. Article from R!UJo}ng1 ll. Signed statement 12. AI&#39;1;1¢I_6 Ir 5/]_$/ 1,. Phot93§at;c popy of §F§1r _ PI-¢g=1a31a="&#39;i*s;a&#39;a1=i1;;h¢*5.5&#39; 5mP92g>t5@>z,»@-Qw» "&#39; r E .. - .»..i&#39; H J _ ¢~92i;?¢ a .§1_ §_=__,;&#39;+~= . .i_¢ _9292 ._ :5 &#39; 5&#39; - .»- ALI. Ii4i&#39;:J/Réaiéé->C:¬COll&#39;TAIliED 2: . .5: » #51?! 1:i:EI2 Y z / ,_ &#39;/: . 1, 1 I. t /ns /4? Y "2, &#39;»::<~ . 2&#39; I ,/ .. - I Ah *4 w ,9 4: A. 4 "1 -92 .7 -.. >-&#39; . /M "S 1/M /I _ 92&#39;J, I _- m l Y 9292|! .4 ""&#39; |92" &#39;..&#39; _.- _.4..92 B 1 § , ,7 J #1.L» - K! __ _/-:..¢-H &#39;6 . - ii /&#39;1/P K 7?-lf&#39;fi--. <92*-"A... -_ , -. -"- I _ -K-92 _ -I -92--__- » , . - ., . ~92...~92 ,-. -~ = . I -. Y"-1.2" " . _- _._.-, 92_ ~ .~ _-_..- . ,!92&#39;92;T:-.- &#39; - _--:__92";- --.11, 1*-~ &#39;- , _;§.,. : 92 &#39; * .. -"--4*. E:- -*&#39;%;:= .; -:&#39;=§";_.__ _., . "W "&#39;2..&#39; "&#39; ,. .92.I- : F" » -. I.-.&#39;~&#39;="..§-&#39; .1 - [email protected] -»- -M -_ . "2. v, . &#39; » &#39;5&#39;"ff? -3,; <¢~;_, -. .._.R ,,_. 1?l " .:. _ ~.¢____E.§_,__ V. ,_; ,._ _: -_-;-- mi". "&#39;1&#39; :2; "aw. &#39; , 92 -* 1- Ir 92u92 ~... &#39;3- -ii P Q - L5 n i F 5 7_ - .5;?=- L . 4 . :5 &#39;7- 7; -. " ,1 . .r&#39;- " -., 4..¢j;&#39;=-_;$- , H, .~:&#39;,E-. *1/2~&#39;c -;__&#39;.~- ,: - ." . :~"92 / 1 1 Q 1}. 92 *.92 Q "I -&#39;~* ._. l 92 -_ ; , 92&- " =.==-_- _ -- -.._ W &#39; 92 113$?- , F.-;=. &#39; ,=:~> . E, 1 - -,.~ 11: 5 - --.. , H 1,». . ., . _ - ~ F-it gt . &#39;¢:_ ~- , ,. :____,;. _ ,7&#39;92, &#39;1-L92.i.<&#39; .". - Hi, . 7. ~- .. 0 - , 92-> _ H . * -- . &#39;4 - ~ . 92. , -. :1. f _ - . A» G. 4 I .. _;.,¢i*=-_&#39;92 _ ,?&#39; --:5-_.&#39;.s~.92 _ , .1 - 2: fn j,92¢_?$_4~., . - Q -. :7 _ 3 -* -T; . _ - r- &#39; Q. A _ - -H 3.. , - -.- _ 4 3.: &#39;- "1&#39;? 92 . -4» » H n -_- ~."92.&#39;~ L7} __ -_ ! ..-&#39;7 &#39;/l - . , ,_ . ,_ " 25 ,;{ 92 /&#39; Q E1 H.-.,| . 1&#39;1 *- 92~ . _ .;.__:__ ,92¢ - 92- : . , ,_ ._ A Z» ,=:j&#39;_,__./1-.==&#39;§ z. ,.- i;-2 5&3 <_ -I :7 . 2;..-_- - 1-W,/, - 1|,-T &#39;,-_. -&#39; -;. _ ,.. ,._;_a,;- _._. .. .1? ;h"-I ._ - 1-. 92- ,_,§.&#39;.,__/&#39;__ _._-:_?. 5 _;,r ; I &#39;_-L 7 &#39; 1,}. _ , 5.<~,¢ V &#39;__ &#39;_ -:1» &#39;.__> /1-.&#39; 1* .1: U; _:;: 92%92_;_ I. -= 4:0at J ¢ . J] a 1&#39; _ -4- _ &#39;/gf/=-E-2 ,___: " _ . _ , *r- - -¢ . Jo- &#39;3» 92&#39;;__ ~ 11;. - _- |, 92. 921-PM D are R£;L]&#39;n.&#39;J /I ," Fro rn P/g A? . ~ _ _ _ utor! 1 ~ 4 nt! -l .1. I3 PL 92&#39;[.£§lI"pd Q / K mil . / /II V92 __ *1 _.I /go /{&#39;7 -*- <_5_{/¢/fl-Int 1 >1 42-f_§fQ_ ,7 Fr=_.:»&.//5" f " -#0Z.C&#39;..C....f.&#39;;£Z £5/LE" ",§;4~é 3 ? ALL &#39;3?/445;INFO]-[KAT HER:-31 1°" °°Pfn1ngn 13 is We SIFI r _,- Z?TE1 Y ./ L =- j..~w:~/¢Z*_:£a;.+:é&#39;=,11=31&#39; &#39; 1- * _ 1*Ya?"-1-1? .92..r92.- 5: "-?~.*.~%%%._, ;_, _ .. -&#39;,_ 92 , _92~.=,,-,1. ~: - .".--&#39;15 -- -_ El &#39; _ 11&#39;.-&#39;»v&#39; 92 .._927|! The Complete Life of -I - I ,&#39;,__{&#39;;r". "5.92._ {I. 1 RANK | _ 92 9 -_ 1 :4.! Produced by THURSTON MOORE -If. 92 . i Art Mlnaier IRVING KRAMER-.. &#39;;"&#39;f"= 92 _ . :-~ W11n. .,r| s°,_ -92 1 ___1 ¢.¢. 92 Copyright 1955 by Pocket Magnsina, Inc. Editorial Oces .1, 1140 Broadway - New York 1, N. Y- H .. Q Printed in u.s.,4. &#39; 4 E Scrapbook No. 1 __ __ . _ , ,. .{,_.:&#39;_..>;;.;q_ IN | ! H;Q P T - _ -, ._-7 TWV F -*.¢. T I , ,4" &#39; ;,l»,&#39;.&#39; .,_»._y,_&#39;--&#39;:_.-_-,1 33¢ . > . ~._ &#39;=-.~.--if~ l §" 1 _TABLEcoNrENisl or me SINATRAsronv 1 &#39; 7 CAPITOL RECORDS 34 FROMHERE TO ETERNITY 46 SUDDENLY 54 YOUNG HEARTAT A sq NOT AsA STRANGER _sa MY DATEwm-| FRANKIE as NOTES T 66-, _ 0». u STARS PICTURED IN THEFRANK SINATRA rn POCKET SCRAPBOOK: 92 4 Les Brown,Tommy Dorsey,Jimmie Durante, -1 Garry Moore, Doris Day,Nat Cole,Rosemary _. _,. Clooney, Christy,June GeorgeMurphy, AlanLadcl, Jules Munshin,Gene Kelly,Ava Gardner,Red &#39;1 Buttons, MiltonBerle, Dave Garroway,Merle "54 Travis, DonnaReed, NancyQates, KimCharney, =7 Robert Mitchum,Olivia deHavilland, LeeM &#39; Broderick Crawford,Ethel Barrymore,Laurenarvm, Bacall. 1 s_ . ,1 *.*_.a &#39; .&#39;:&#39;,;."1?I I F - - -- .. 1 /,> FRANK SINATRA , Francis Albert Sinatra was acclaimed by Down Beat last year as the singer of the yearthe rst time such an accolade had been given him since 1947. The intervening years saw the plaudits and honors-and the moneygo to younger and rela- tively lesser~known young men who sing popular songs for radio, TV and the giant recording indus- try. And hereby hangs a tale. " Until quite recently, it was getting. to be a habit- to refer to some of the oldtimers in the warbling business asYou know, people like Vallee, Cros- by and Sinatra." Of course, Bing is still around, still making with the. pipes in a variety of odd chores in the entertainment world. But his work is accepted and enjoyed, frankly, with a touch of nos- talgia. He is the old master, admittedly great, but no longer the object of mass adulation and the toter-home of honorary gold recordsthose sym- bols of fabulous discs which sell over a million cop- ies. And of course, the Connecticut Yankee, al- though an energetic and competent dabbler in other branches of the arts, no longer keeps ecstatic wo- men glued to the loudspeakers as he did a quarter of a century ago. The days of the neatly-parted curly locks and the megaphone are gone forever. The thing that puts Frank Sinatra in a class by himself these days is that almost unheard-of accom- plishmenta true comeback. Not in the sense that Frankie has recaptured those early war days when 7 A I __ . - .___._c-._1_____H______L_¢;l - V -< .2.--"__._s 4 >&#39;_»» . .- .92--~ r hislsliglit gure before a m someof the world&#39;s strangest icrophone manifestationstouched 01 gone nlassforever. feminine But psychology. what Frankie Those has days, don &#39;too, aro com f &#39;&#39; 1 e, or the second time in his e ls to be thing in showbusiness. career, the hottesl UMETOWN: HUBUKEN Francis Albert Sinatra was born in child1917 in of Hoboken, Anthony New and NatalieJersey. Sinatra,An only tive whoItaly, camelittle to America Frankie from spenttheir his busyna- of andhis combative childhoodbirth. Although his in success the townin business thehighly has competitive always been world a sourceof showof great pride for his parents, it was not only the career son. It theywas had their planned dream for theirthat young Sinatra would grow up to be- haps comethe a famous worldhas civil missed engineer. a beautifulPer- atra,bridge but or it two could without have engineer missedmuchSin- more-the intimate pleasure evoked lions bya of romantic fans. tenor in untold mil- for Singing Frankie. was Although not a life-long he belonged ambitionto Frunk Sinulru oi fh tails, top hot and all.e oge of three Wl|l&#39;l the Glee Club of Demarest High School, andengaged ina protable tral arrangements, which herented to local bands musical sidelineas astudent, his real, and highschool combos.The fee was modest,but I down-to-earth ambitionwas tobecome the contracturalarrangements includedthe serv- a newspaper man. He got a job, after ices ofone FrankSinatra as the featured vocalist school hours,working onthe delivery at another modest fee.Later heexpanded and I truck of the Hudson Observer. He purchaseda public address system,which was l 4l liked the newspaper businessso much rented alongwith arrangementsand hisservices that he later quit school and went to asa singer.
Recommended publications
  • The Night of the Hunter: Noirish Or Film Noir?
    The Night of the Hunter Noirish or film noir? Sigurd Enge A Thesis presented to the Department of Literature, Area Studies and European Languages, the University of Oslo, in Partial Fulfillment to the Requirements for the MA degree in North American Studies ENG4970 Masterspesialisering i engelsk, LAP Thesis advisor: Mark Luccarelli Autumn 2009 Table of Contents Introduction 3 Chapter 1: The Novel and the Film 6 A Short Synopsis of the Book 6 The Film as a Critical Text 7 The Film as Work of Art 11 Reception 13 Chapter 2: What Is Film Noir Anyway? 18 A Short Synopsis of the Film Noir Debate 20 The Noirish Aspects of the Night of the Hunter 25 The Malaise and Social Criticism of The Night of the Hunter 33 “A Faith Deformed” 35 Chapter 3: Further Analysis 44 The Stylistics of The Night of the Hunter 44 The Mixture of Expressionism and Realism in Hunter 53 Harry Powell – Urban psychopath, Frontiersman or Demon? 57 Conclusion 61 Bibliography 64 2 Introduction The first time I saw Charles Laughton’s The Night of the Hunter was at Riverside Studios in London in 2004. It was on a double bill with Jacques Tourneur’s acknowledged film noir classic Out of the Past, which I liked a lot more than Hunter. The latter seemed over acted and strange to me, and I found it much easier to enjoy a film about a private detective who was lured into violence and crime by a beautiful femme fatale. Out of the Past seemed more realistic and cooler, because it had people smoking cigarettes in dimly lit rooms and because it was full of banter with sexual innuendo.
    [Show full text]
  • THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE As of July 2013
    THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE as of July 2013 For more information, please e-mail the Archive Research & Study Center [ARSC] at [email protected] TITLE YEAR INV # FORMAT TYPE 1989 SIMON WIESENTHAL CENTER ANNUAL BANQUET 1989 M160341 1/2 IN. VHS VIDEOCASSETTE #2: TWELVE (12) ORIGINAL COMMENTARIES SENT TO US BY KRAMER IN 1977 M159949 1/4 IN. AUDIO REEL EARLY OCTOBER 34TH ANNUAL ACADEMY AWARDS SHOW: STANLEY KRAMER RECEIVING M160350 1/2 IN. BETACAM SP THE THALBERG AWARD #4: TWO (2) ADDITIONAL COMMENTARIES RECEIVED BY NORMAN 1977 M160250 1/4 IN. AUDIO REEL GLADNEY ON DECEMBER 5, 1977 5,000 FINGERS OF DR. T. 1953 M14494 16 SAFETY 5000 FINGERS OF DR. T -- CLIP REEL M160356 1/2 IN. BETACAM SP A.M. AMERICA: LT. CALLEY SEGMENT, STANLEY KRAMER 1/8/1975 M159434 3/4 IN. VIDEOCASSETTE ABC LATE NIGHT: THE COMEDIANS 1974 M159426 3/4 IN. VIDEOCASSETTE AMERICAN MASTERS -- SIDNEY POITER: ONE BRIGHT LIGHT M160331 1/2 IN. VHS VIDEOCASSETTE BIRTHDAY SEGMENT: CNN 9/29/2000, SHOWBIZ TODAY, KCBS 2000 M160334 1/2 IN. VHS VIDEOCASSETTE ENTERTAINMENT TONIGHT BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M19442 35 SAFETY [BLESS THE BEASTS AND CHILDREN -- EXCERPTS]. 1971 M14716 16 SAFETY [BLESS THE BEASTS AND CHILDREN -- TRAILER. TEASER NO. 2]. 1971 M48224 35 SAFETY CAINE MUTINY 1954 M6276 16 SAFETY CAMERA 4 REPORTS. STANLEY KRAMER, THE MOVIES, AND B.Y.U. 1972 T7412 2 IN. VIDEOREEL CARY GRANT: THE LEADING MAN M160347 1/2 IN.
    [Show full text]
  • Pdgrave Yy^Urt II Houti
    THE STAR, Washington, D. c. ** EVENIT'O '» C-6 rtIBAT. JILT M. 10SS Life With Lewis and Clark THE PASSING SHOW One Cliche After Another I *jrf By HARRY lUeAKTHUR good thing "THX VAR HORIZONS "a Part- Medicine Is X-rayed It is. or wm, of R oount picture, produced by WUUsn H \ >int ud WtllUm C. TboißMi dlriettd ¦PF for Merriwether Lewi* and BUI ir Rodelpb Mote. icrecDplxr by Win*ton Siller cod Edmund Hr North, from the Clark that the movie* had not lord, "SocSovco of the Shothonec." il DcllA Oould Emmoni. At tbo CopltU In an Exciting Film yet become popular entertain- 1 Tho on that Cut By JAY CARMODY ment when they set out Ifcrrlwothcr Lowlx Vrtd MirMnmy expedition. they had, it BUI Clerk Charlton Heaton Stranger.” top If ioenjnvcn Donna Reed "Not As A which shot ta the of the best-seller would been a dull trip for Julia Hancock Barbara Hale a nagnMi t < have -WW7 list as a novel, should be equally popular as a film, despite the B flk Everything that occurred Sertaant Can William Demareit them. ebaiboneon . Aim Rood fact of sturdier competition. given them the feel- Cameahwalt Eduardo Norleca Thompson’s by would have Wild Bade Larry Pennell Morton work has been translated to the screen s #-¦¦-. ing that they had been here be- Le Borne Ralph Moody Producer-Director Stanley Kramer with not merely fidelity to its ¦ - ?a« -^:;> fore. Prealdent Jeffcraon Herbert Herea original tart flavor but with a- '~TOri. listen, » *-- can, you ;; 1 You if hear post. Despite them, high-powered cast.
    [Show full text]
  • THE STANLEY KRAMER COLLECTION at UCLA FILM
    THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE as of May 2012 INV # TITLE EPISODE TITLE SIZE ELEMENT FORMAT REELS OF M159949 #2: twelve (12) original commentaries sent to us by kramer in early october 1/4 IN. AUDIO REEL 1 1 M160250 #4: two (2) additional commentaries received by norman gladney on december 5, 1977 1/4 IN. AUDIO REEL 1 1 M14716 [Bless the beasts and children ‐‐ excerpts]. 16 PRINT SAFETY 1 1 M48224 [Bless the beasts and children ‐‐ tRailer. Teaser no. 2]. 35 PRINT SAFETY 1 1 M59194 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59193 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59196 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59195 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59198 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59197 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59200 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59199 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59202 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59201 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59204 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59203 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59206 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59205 [Interview. Stanley Kramer Canadian interview]. 16 MAG SAFETY 1 1 M59211 [Interview. Stanley Kramer Canadian interview]. 16 PIC POS SAFETY 1 1 M59210 [Interview.
    [Show full text]
  • Stanley Kramer Papers, 1945-1984
    http://oac.cdlib.org/findaid/ark:/13030/ft2x0nb09b No online items Finding Aid for the Stanley Kramer papers, 1945-1984 Processed by Charlotte Payne; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Stanley 161 1 Kramer papers, 1945-1984 Finding Aid for the Stanley Kramer Papers, 1945-1984 Collection number: 161 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Charlotte Payne, October 1974 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, July 2002 Text converted and initial container list EAD tagging by: Apex Data Services © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Stanley Kramer Papers, Date (inclusive): 1945-1984 Collection number: 161 Creator: Kramer, Stanley Extent: 316 boxes (158 linear ft.)37 cartons (37 linear ft.)28 oversize boxes 2 oversize Folders Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Stanley Kramer (1913- ) was born in New York City.
    [Show full text]
  • Video Ing:Maquetación 3.Qxd
    Lluís Martínez Via J Med Mov 4 (2008): 90-92 JMM Medicine in Movie Scenes Best not to Touch it, it May be a Melanoma Lluís Martínez Via Dermatologist. Figueres. Girona (Spain). Correspondence: Lluís Martínez Via. c/Sant Llàtzer, 12. 17600 Figueres. Girona (Spain). e-mail: [email protected] Received 13 January 2008; accepted 7 March 2008 Keywords: Melanoma, Mole, Pigmented nevi, Cinematographic adaptation. We all too often find beliefs solidly incrusted in d. It has popular arguments (efforts, fame, social the trunkful of prejudices of many people. For example, stratification, jealousy, adultery, retributive aspects, medical mistakes, and intrigues among professio- one of them is that the best attitude to adopt before an nals, among patients…) atypical mole would be not to touch it at all, and –how incongruous (!)- we abstain from taking any action preci- The film has already been addressed in this sely because it could be a melanoma. As dermatologists, we journal2. Surprising medical questions were explored. have all come across -and probably on more than one Among them, the one that most aroused our attention occasion- the need to use special efforts to explain to our is the attitude of Dr. Lucas Marsh (Robert Mitchum) patients that we must remove a nevus because it is atypi- when asked by a patient, who when admitted to hos- cal and has fair probabilities of becoming malignant and pital for other reasons, asks him to remove and ugly sooner or later developing into a melanoma. mole on her jaw; It makes me nervous and it doesn’t look nice.
    [Show full text]
  • American Independent Cinema
    AMERICAN INDEPENDENT CINEMA AMERICAN INDEPENDENT Films, filmmakers and film companies AMERICAN INDEPENDENT CINEMA examined include: • Cagney Productions and Johnny Come Yannis Tzioumakis Lately, Blood on the Sun and The Time of Your Life • The Charlie Chan series ‘A substantial and insightful examination of the infrastructure • Lomitas Productions, Stanley Kramer and of independent American cinema. This is a true advance on The Defiant Ones, On the Beach and Inherit previous studies and deepens the reader’s understanding of the Wind • Sam Katzman and Rock Around the Clock how independent films get made and distributed. For this • Roger Corman and The Wild Angels reason the book will be an invaluable addition to the literature • John Cassavetes and Shadows on Independent American Cinema.’ • Dennis Hopper and The Last Movie Professor Warren Buckland, Editor of The New Review of Film • American International Pictures and Foxy and Television Studies Brown • John Sayles and Return of the Secaucus Seven This introduction to American independent cinema offers • Filmhaus Productions, David Mamet and both a comprehensive industrial and economic history of the House of Games sector from the early twentieth century to the present and a • Steven Soderbergh and sex, lies, and study of key individual films, filmmakers and film companies. videotape Readers will develop an understanding of the complex • Kevin Smith and Clerks • Monogram, Republic Pictures and dynamic relations between independent and mainstream Producers Releasing Corporation American cinema. • William Castle Productions, Embassy Pictures, New World Pictures, Dimension The main argument revolves around the idea that independent and Crown International American cinema has developed alongside mainstream • Orion Pictures Hollywood cinema with institutional, industrial and economic • The Sundance Film Institute changes in the latter shaping and informing the former.
    [Show full text]
  • Stanley Kubrick: Producers and Production Companies
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Stanley Kubrick: Producers and Production Companies Thesis submitted by James Fenwick In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, September 2017 1 Abstract This doctoral thesis examines filmmaker Stanley Kubrick’s role as a producer and the impact of the industrial contexts upon the role and his independent production companies. The thesis represents a significant intervention into the understanding of the much-misunderstood role of the producer by exploring how business, management, working relationships and financial contexts influenced Kubrick’s methods as a producer. The thesis also shows how Kubrick contributed to the transformation of industrial practices and the role of the producer in Hollywood, particularly in areas of legal authority, promotion and publicity, and distribution. The thesis also assesses the influence and impact of Kubrick’s methods of producing and the structure of his production companies in the shaping of his own reputation and brand of cinema. The thesis takes a case study approach across four distinct phases of Kubrick’s career. The first is Kubrick’s early years as an independent filmmaker, in which he made two privately funded feature films (1951-1955). The second will be an exploration of the Harris-Kubrick Pictures Corporation and its affiliation with Kirk Douglas’ Bryna Productions (1956-1962). Thirdly, the research will examine Kubrick’s formation of Hawk Films and Polaris Productions in the 1960s (1962-1968), with a deep focus on the latter and the vital role of vice-president of the company.
    [Show full text]
  • Index to Academy Oral Histories Saul Bass
    Index to Academy Oral Histories Saul Bass Saul Bass (Graphic designer, Filmmaker) Call number: OH158 ad campaigns, 18-19, 20, 26, 28, 57-58, 64 AFTERNOON OF A FAUN (short), 24 Aldrich, Robert, 40 Anger, Kenneth, 39 Art Directors Club (New York), 17 Art Students League (New York), 14 Artkino Theatre (New York), 23 Astaire, Fred, 25 ATTACK!, 40 Bass, Aaron (father), 13 Bass, Elaine Makatura (wife), 74-76 Bass, Pauline Feldman (mother), 18, 21 Bass, Sylvia (sister), 13 THE BATTLE OF SAN PIETRO (short), 51 BATTLESHIP POTEMKIN, 23 Bauhaus, 38-40 Baur, Harry, 23-24 Bayer, Herbert, 38-39 Bessarabia, 13 THE BIG KNIFE, 55 THE BIG SKY, 59 Binder, Joseph, 51 The Blaine Thompson Agency, 21, 26-27, 39 Bosch, Hieronymous, 68 Bradbury, Ray, 74-76 Brando, Marlon, 30 Bronston, Samuel, 73 Bronx (New York), 13, 17 Brooklyn College, 16-17 Buchanan and Company, 26-27, 58, 61-62 Burtin, Will, 39 CASINO, 68 CHAMPION, 26, 30-31, 39, 53-54 Chaplin, Charles, 35-36 A CHILD IS WAITING, 65 children's books, 46 Civilian Conservation Corps (CCC), 21 Clark, Ramsey, 58, 65 Cocteau, Jean, 39 Collins, Richard, 72-73 constructivism, 38, 40-41 Container Corporation of America, 44 Cooper, Gary, 57 Crotona Park (New York), 13 CYRANO DE BERGERAC (1950), 53-54, 65 Da Vinci, Leonardo, 22 Dante Alighieri, 72 DEATH OF A SALESMAN (1951), 48, 54-56 DECISION BEFORE DAWN, 41 THE DEFIANT ONES, 39, 41 The Deluge, (painting), 22 Deren, Maya, 39 Doesberg, Theo von, 39 Domergue, Faith, 33, 59 Douglas, Kirk, 30-31 Dovzhenko, Alesandr, 22 drawing, 15 Eady Plan, 45 EARTH (1930), 22 Enterprise Productions, 52-53 expressionist films, 23-24 FAHRENHEIT 451, 74-75 THE FALL OF THE HOUSE OF USHER (1928), 39 FELLINI ROMA, 48-49 Fifth Amendment (U.S.
    [Show full text]
  • Inherit the Wind; and the Foolish Shall Be Servant to the Wise of Heart." Proverbs 11:29
    "He that troubleth his own house shall inherit the wind; And the foolish shall be servant to the wise of heart." Proverbs 11:29 STANLEY KRAMER (29 September 1913, Brooklyn—19 February 2001, Woodland Hills, CA, penumonia) from Leonard Maltin's Film Encyclopedia:Although unfashionable with latter-day film critics who find some of his "message movies" to be simplistic, Stanley Kramer can take credit for producing (and later directing) some of Hollywood's boldest, most socially conscious movies-at a time when much of the industry was reverting to formula and cowering in the wake of the Communist witch-hunts. Moreover, his projects consistently attracted the 14 FEBRUARY 2006, XII:5 top talent working on both sides of the cameras in Hollywood. Making STANLEY KRAMER: INHERIT THE WIND 1960 his pictures independently gave Kramer freedom from studio 128 min. interference, and he produced a run of powerful films, among them the Spencer Tracy...Henry Drummond gritty boxing drama Champion a study of Army racism, Home of the Fredric March...Matthew Harrison Brady Brave (both 1949); a drama of paralyzed war veterans, The Men (1950, Gene Kelly...E. K. Hornbeck Marlon Brando's first film); a notable adaptation of Arthur Miller's play Dick York...Bertram T. Cates Death of a Salesman (1951); and the antiMcCarthy Western, High Noon Donna Anderson...Rachel Brown (1952). He then signed with Columbia, where he produced the first Harry Morgan...Judge Mel "biker" film, The Wild One and The Caine Mutiny (both 1954), as well as Claude Akins...Rev. Jeremiah Brown a Dr. Seuss musical fantasy, The 5,000 Fingers of Dr.
    [Show full text]
  • Doctors in the Movies School, Right?’’ Dr Sands Replies, ‘‘What, Are You Going to Arrest Me for Failing to G Flores Live up to My Potential?’’
    1084 LEADING ARTICLE Arch Dis Child: first published as 10.1136/adc.2003.048843 on 19 November 2004. Downloaded from Entertainment a patient due to operating while ....................................................................................... addicted to drugs, and the agent says, ‘‘This is not how a doctor lives. No, this is squalor. I mean, you did go to medical Doctors in the movies school, right?’’ Dr Sands replies, ‘‘What, are you going to arrest me for failing to G Flores live up to my potential?’’. Money is not infrequently portrayed as ................................................................................... the prime motivation for becoming a doctor and choosing a medical specialty. Healers, heels, and Hollywood In Not As a Stranger (1955), medical school classmates discuss their career options: he world continues to have a pas- MAJORTHEMESINDOCTOR sion for movies. Moviegoers world- MOVIES ‘‘Personally, I’m for surgery. I just Twide spent $20.3 billion and Money and materialism got a look at Dr Dietrich’s car. You purchased 8.6 billion admission tickets Materialism and a love of money have know what he drives? A Bentley. 1 to see films in 2003. 2002 was a record pervaded cinematic portrayals of doctors $17,000 bucks.’’ breaking year at the UK box office, with dating back to the 1920s, and continue ‘‘That guy doesn’t take out a splinter 176 million cinema admissions, £755 to be prominent in recent movies. In for less than $1000.’’ million in total box office receipts, Doctor at Sea (1956), Dr Simon Sparrow ‘‘I’ll still take ear, nose, and throat. and 369 films released.2 In the USA in (Dirk Bogarde) states, ‘‘A Rolls Royce is The common cold is still the doctor’s 2003, there were 1.6 billion cinema the ambition of almost every newly best friend.’’ admissions, $9.5 billion in box office qualified doctor.
    [Show full text]
  • Bending Rules to Help
    Using Boundary Crossings As Creative Therapy Instead of Slippery Slopes Course Director Gail E. Robinson, MD Annual Convention of the American Psychiatric Association – May 2008 CREATIVE MOMENTS & CHALLENGING EVENTS IN THERAPY -- BENDING RULES TO HELP Gary R. Schoener * INTRODUCTION From the New York Times, Metropolitan Dairy section, 22 December 2005 Being asked to perform a psychiatric consultation on a hospitalized adolescent is rarely pleasant. Fortunately, this teenager seemed placid as I approached his bed. His mother was seated nearby, immersed in her knitting. I walked over and introduced myself to him. He looked right through me and started screaming at the top of his lungs: “I can’t see! I can’t see!” I had never before seen such a dramatic example of hysterical blindness. I tried not to betray my concern as I casually asked his mother, “How long has this been going on?” She never even looked up as she replied, “Ever since you stepped in front of his television.” Isaac Steven Herschkopf, M.D. Yes, there are all sorts of boundaries challenges in professional work. On occasion I tell my students and professional audiences that I once spent an entire psychotherapy session holding hands with a 26 year old woman together in a quiet darkened room. That disclosure usually elicits more than a few gasps and grimaces. When I add that I could not bring myself to end the session after 50 minutes and stayed with the young woman holding hands for another half hour, and when I add the fact that I never billed for the extra time, eyes roll.
    [Show full text]