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THE KUTZTOWN PATRIOT 1 P^Ident; Henry Uperintendent; Q VOL
fy xh<x* elected PEOPLE AND SPOTS iTrexler, president; IN THE LATE NEWS THE KUTZTOWN PATRIOT 1 P^ident; Henry uperintendent; Q VOL. LXIX KUTZTOWN, PA., THURSDAY, FEBRUARY 10, 1944 NO. 39 Jd superintendent; [treasurer; Wayne »wge Wolf, ass-^ •d Diehl, Donald string, deacons; nisei Geiger, assist- I Fegley and Mae HE GIVES-YOU LEND! BUY AN EXTRA BOND! [Mrs. James Fegc todays. 0 HOUSE TO HOUSE SP ^ on "MB. Lyons Boy Scouts j Joint Meeting Of BOND SALE CLOSE TO Speaks At Trinity Scouts Mark 34th Anniversary $10,000 TO DATE y Department a To Celebrate 5th Men*s And Women's Ira C. R. Guldin reports $10,000 ruined by the worth of bonds sold in direct house Lutheran Church to house canvas. his father and Anniversary Sun. Farm Classes Mon. All of the workers are asked to Wednesday, Feb. 16 >lay. hand in their reports no later than Tuesday, February 15th, the final Homer Bixler, Field Man Of date of the Campaign. Invitations Sent To Troops Rev. Schaeffer Was Secretary Farm Bureau to Speak On Mr. Guldin urges those who have Of Northeast District; not fully completed their work to Of Board Of Nat. Missions Diseases Of Poultry Candlelight Service do so at the earliest possible date. Of Reformed Church war plant, A joint meeting of the Men's and All workers will submit to him the lured. Good The 5 th anniversary' of the Lyons Women's Farm Defense classes wffl coupon marked number 2, forming The Rev. Charles E. Schaefer, *g conditions. Boy Scout Troop will be fittingly cele be held next Monday night, at KHS, a part of the application blank D.D., S.T.D., Philadelphia, retired »ce at brated Sunday at 7.15 p. -
MARJORIE BEEBE—Ian
#10 silent comedy, slapstick, music hall. CONTENTS 3 DVD news 4Lost STAN LAUREL footage resurfaces 5 Comedy classes with Britain’s greatest screen co- median, WILL HAY 15 Sennett’s comedienne MARJORIE BEEBE—Ian 19 Did STAN LAUREL & LUPINO LANE almost form a team? 20 Revelations and rarities : LAUREL & HARDY, RAYMOND GRIFFITH, WALTER FORDE & more make appearances at Kennington Bioscope’s SILENT LAUGHTER SATURDAY 25The final part of our examination of CHARLEY CHASE’s career with a look at his films from 1934-40 31 SCREENING NOTES/DVD reviews: Exploring British Comedies of the 1930s . MORE ‘ACCIDENTALLY CRITERION PRESERVED’ GEMS COLLECTION MAKES UK DEBUT Ben Model’s Undercrank productions continues to be a wonderful source of rare silent comedies. Ben has two new DVDs, one out now and another due WITH HAROLD for Autumn release. ‘FOUND AT MOSTLY LOST’, presents a selection of pre- LLOYD viously lost films identified at the ‘Mostly Lost’ event at the Library of Con- gress. Amongst the most interesting are Snub Pollard’s ‘15 MINUTES’ , The celebrated Criterion Collec- George Ovey in ‘JERRY’S PERFECT DAY’, Jimmie Adams in ‘GRIEF’, Monty tion BluRays have begun being Banks in ‘IN AND OUT’ and Hank Mann in ‘THE NICKEL SNATCHER’/ ‘FOUND released in the UK, starting AT MOSTLY LOST is available now; more information is at with Harold Lloyd’s ‘SPEEDY’. www.undercrankproductions.com Extra features include a com- mentary, plus documentaries The 4th volume of the ‘ACCIDENTALLY PRESERVED’ series, showcasing on Lloyd’s making of the film ‘orphaned’ films, many of which only survive in a single print, is due soon. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Jeanie Macpherson
Jeanie Macpherson Also Known As: Jeanie MacPherson, Jeannie MacPherson Lived: May 18, 1888 - August 26, 1946 Worked as: director, film actress, screenwriter Worked In: United States by Jane Gaines Jeanie Macpherson is best known as Cecil B. DeMille’s screenwriter since she collaborated exclusively with the director-producer from 1915 through the silent era and into the sound era, in a working relationship lasting fifteen years. Like many other women who became established as screenwriters, she began her career as a performer, first as a dancer and then as an actress. Her numerous acting screen credits begin in 1908, and nearly thirty of the short films she appeared in for the Biograph Company, most directed by D. W. Griffith, are extant. At Universal Pictures, Macpherson began to write, but due to a fluke she also directed the one film that she wrote there— a one-reel Western, The Tarantula (1913), according to a 1916 Photoplay article (95). Although Anthony Slide cannot confirm the success of the film, both he and Charles Higham retell the story that when the film negative was destroyed by accident, the actress was asked to reshoot the entire motion picture just as she recalled it since the original director was unavailable (Slide 1977, 60; Higham 1973, 38). There are several versions of how Jeanie Macpherson, out of work after The Tarantula, was hired by DeMille at the Jesse L. Lasky Feature Play Company. The most elaborate version is from Higham, who describes Macpherson’s attempt to get an acting job as involving a series of battles between the two while the director was shooting Rose of the Rancho (1914) (38–40). -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
THE GREAT WAR: a CINEMATIC LEGACY OPENS at Moma on the CENTENARY of the START of WORLD WAR I
THE GREAT WAR: A CINEMATIC LEGACY OPENS AT MoMA ON THE CENTENARY OF THE START OF WORLD WAR I The Great War: A Cinematic Legacy August 4—September 21, 2014 The Roy and Niuta Titus Theaters NEW YORK, July 8, 2014–Opening on the 100th anniversary of the day World War I began, The Museum of Modern Art’s The Great War: A Cinematic Legacy runs from August 4 through September 21, 2014, highlighting 60 feature-length films and thematic programs that attempt to provide a comprehensive view of the war as portrayed in film. The various films focus on prewar activities; espionage; the battlefields in the trenches, in the air, and on and beneath the sea; actualités; and the various homefronts before, during, and after the war. Familiar films, such as A Farewell to Arms (1932) and Lawrence of Arabia (1962), along with several lesser-known works from as far away as New Zealand—including Chunuk Bair (1992)—reflect the universality of a war that reshaped the prevailing values of what passed for civilization. In August, the program is predominately drawn from the early years, either during the war or in the succeeding decades, and includes several silent films. The program in September will concentrate mainly on later, more contemporary films up to, and including, Steven Spielberg’s War Horse (2011). The Great War is organized by Charles Silver, Curator, with Dave Kehr, Adjunct Curator, Department of Film, The Museum of Modern Art. Many of the films in the series deal with the entrenched stalemate in France, including Verdun, Vision d’Histoire (Verdun, Vision of History) (1928) directed by Leon Poirier. -
The Republican Journal, a News- First and Final Sccount Presented Allow- Estate of H
Tme Republican Journal. 04 M>. 4S,BELFAST. MAINE. THURSDAY. NOVEMBER 30, 1922. FIVE CENTO CHARLES ""The Women’s Alliance. The Journal’s New Home. \n Appalling Homicide and Suicide. C. SARGENT. THE CHURCHES War Savings Stamps PERSONAL After occupying for forty-nine years a statement made Alliance of the First As a result of family troubles. Frank In the passing of Charles C. Sargents First Universaust church. Reg- Attention is called to Women’s brick block at 65 Ralph Holt is in Washington, D. C.m met in the North the second story of the W. Davis shot his wife and himsel at of 29 East 73rd N. Y., there has ular services will be held next Sun- by Postmaster Keating in regard to the P*. .federated) street, the guest of his Mrs. Church The has moved to at 10.45 a. m. Sermon of sister, George H.. afternoon with street, Journal their tenement over the Durant in gone one of the finest and noblest day morning approaching maturity on January 1st Tuesday Garage types McClellan. h parlors the Jellison No. 66 by the pastor, Rev. William Vaughan, The president, block, High street, the Lancaster block on Main street of Christian a the 1918 issue of War Savings Stamps, attendance. early characters of past genera 8nd music by the choir. Sunday school large on to the Mrs. F. E Jones and Mrs. A. and a with office entrance stairs next a the refunding proposition of the U. S. H. Davis C. Durham, presided Thursday morning. Over year ago he tion. -
FILM CREDITS Last Update: 7/08
KERN COUNTY FILM CREDITS Last Update: 7/08 (TV) Made for Television (D) Documentary (S) Serial TITLE RELEASED LOCATION CAST Keystone Cops unknown Red Rock Canyon The Keystone Cops Opportunity 1913 Taft Fatty Arbuckle Cowboy and the Lady, The 1915 Mojave S. Miller Kent, Hellen Case Back To God's Country 1919 Kern River Valley Nell Shipman, Wheeler Oakman Branded a Bandit 1924 Robbers Roost Yakima Canutt, Alys Murrell King of the Wild Horses, The 1924 Old Kernville Edna Murphy, Charley Chase Man From God's Country, The 1924 Kern River Valley William Fairbanks, Dorothy Revier Greed 1925 Mojave Desert Gibson Gowland, Zasu Pitts White Thunder 1925 Old Kernville Yakima Canutt Wild Horse Canyon 1925 Red Rock Canyon, Kernville Yakima Canutt, Helene Rosson Battling Butler 1926 Bakersfield, Kern River Buster Keaton, Sally O'Neil, Walter James Born to the West 1926 Red Rock Canyon Jack Holt, Margaret Morris Hands Up! 1926 Red Rock Canyon George A Billings, Virginia Lee Corbin Beau Sabreur 1928 Red Rock Canyon Gary Cooper, Evelyn Brent Hell's Heroes 1930 Mojave Desert Charles Bickford, Raymond Hatton Under a Texas Moon 1930 Red Rock Canyon Frank Fay, Myrna Loy Cimarron 1931 Kern River Valley Richard Dix, Irene Dunne Lightning Warrior, The (S) 1931 Old Kernville Rin Tin Tin Phantom of the West, The 1931 Old Kernville Tom Tyler, William Desmond Range Feud 1931 Kernville John Wayne, Buck Jones Vanishing Legion, The 1931 Old Kernville Harry Carey, Edwina Boothe Border Devils 1932 Kern River Valley Harry Carey, Gabby Hayes Flaming Guns 1932 Red Rock Canyon -
Hollywood Movie Surveyors: the “R” Rated Version (A) (L) (N) (S) (V) – but NO (D) !?!
Hollywood Movie Surveyors: The “R” Rated Version (A) (L) (N) (S) (V) – BUT NO (D) !?! John F. BROCK, Australia Key words: SUMMARY Amongst my first collection of movies in which surveying scenes were contained, there were only two which contained content which in any way could be construed as sexy or violent. However, of subsequent findings which have come to my attention the same wholesome predominance certainly cannot be declared, as lewd scenes of voyeurism, sex and nudity, along with abundant violence, are featuring in much greater proportion. Even though one scene is graphically savage resulting in the grisly demise of the geological surveyor, others tend towards the melodramatic and quite unbelievable when surveyors or their assistants are seen using the theodolite as a defensive weapon or employing survey marker stakes to crack over the heads of rival surveying teams. In two of the movies, the surveying instrument is utilised to spy upon unknowing victims who have very few, if any, clothes upon their person, thus portraying the users in quite an unsavoury manner. On the lighter side of this brand new collection of Hollywood surveying footage we even see Secret Agent 007 encouraged to inspect the survey marks on an oil pipeline set out, by his voluptuous femme fatale, Electra, in “The World Is Not Enough”, more surveyors having their hats shot off in another “Duke” classic, and surveys of plant roots in a community garden in an episode of “Dharma and Greg”. All in all, this is yet another fantastic collage of surveying in the immortal traditions of Hollywood entertainment, but may I suggest that children be suitably screened from access to this naughty but nice sequel of saucy silver screen surveying !! Now cover the eyes and ears of the children, the squeamish and the prudish, and sit back, and occasionally on the edge of your seats, for a very adult viewing of surveying in Hollywood movies … and enjoy – very much !! TS 24 – Different Perspectives to Surveying 1/15 John F. -
1 Jeanie Macpherson May 18, 1888
Jeanie Macpherson May 18, 1888 - August 26, 1946 Also: Jeanie MacPherson Worked as : director, film actress, screenwriter The United States Jeanie Macpherson is best known as Cecil B. DeMille’s screenwriter since she collaborated exclusively with the director-producer from 1915, through the silent era and into the sound era, in a working relationship lasting fifteen years. Like many other women who became established as screenwriters, she began her career as a performer, first as a dancer and then as an actress. [Fig. 1 Jeanie Macpherson, early screen role BYU. WFP-MAC16 ] Her numerous acting screen credits begin in 1908, and nearly thirty of the short films she appeared in for the Biograph Company, most directed by D.W. Griffith, are extant. At Universal Pictures, Macpherson began to write, but due to a fluke she also directed the one film that she wrote there—a one-reel western, The Tarantula (1913), according to a 1916 Photoplay article (95). Although Anthony Slide cannot confirm the success of the film, both he and Charles Higham retell the story that when the film negative was destroyed by accident the actress was asked to reshoot the entire motion picture just as she recalled it since the original director was unavailable (Slide 1977, 60; Higham 1973, 38). [Fig. 2 Jeanie Macpherson d/w/a The Tarantula (1913) AMPAS. WFP-MAC18] There are several versions of how after Jeanie Macpherson, out of work after The Tarantula, was hired by DeMille at the Jesse L. Lasky Feature Play Company. The most elaborate version is from Higham who describes Macpherson’s attempt to get an acting job as involving a series of battles between the two while the director was shooting Rose of the Rancho (1914) (38 – 40). -
Becoming “American”: Race, Class, Gender, and Assimilation
BECOMING “AMERICAN”: RACE, CLASS, GENDER, AND ASSIMILATION IDEOLOGIES IN YOUNG ADULT MEXICAN IMMIGRANT FICTION by JANIE IRENE COWAN (Under the Direction of Joel A. Taxel) This dissertation explores representations of race, class, gender and ideologies of assimilation in thirty-two young adult novels involving the Mexican immigrant experience published from 1953-2009. The study draws upon several theories, but is primarily located within the paradigm of critical Marxist educational, cultural, and literary theories including the sociology of school knowledge and critical multiculturalism based upon the work of Raymond Williams, Michael Apple, Joel Taxel, Stephen May and Christine Sleeter. I also draw upon theories of assimilation throughout U.S. history such as e pluribus unum, the melting pot, multiculturalism, transnationalism, and hybridity, with emphasis upon the work of Homi Bhabha that conceptualizes cultural hybridity as spaces of cultural negotiation and rearticulation. To provide further context for the study, I also review representations of Mexican Americans in larger American culture via historical accounts, school textbooks, and the entertainment media of television and film. I address the following research questions: What ideologies of assimilation are suggested in young adult contemporary fiction involving the Mexican immigrant experience? How do they change (or not change) over time? How do the intersections of assimilation ideologies and representations of ethnicity, socioeconomic status, and gender in young adult contemporary -
Read Ebook {PDF EPUB} Cecil B. Demille and American Culture the Silent Era by Sumiko Higashi Cecil B
Read Ebook {PDF EPUB} Cecil B. DeMille and American Culture The Silent Era by Sumiko Higashi Cecil B. DeMille and American Culture: The Silent Era by Sumiko Higashi. Film Director, Film/TV Producer (12-Aug-1881 — 21-Jan-1959) SUBJECT OF BOOKS. Robert S. Birchard . Cecil B. DeMille's Hollywood . University Press of Kentucky. 2004 . 416pp. Cecil B. DeMille . The Autobiography of Cecil B. DeMille . Englewood Cliffs, NJ: Prentice-Hall. 1959 . 465pp. Anne Edwards . The DeMilles: An American Family . London: Collins. 1988 . 248pp. Gabe Essoe; Raymond Lee . DeMille: The Man and His Pictures . New York: Castle Books. 1970 . 319pp. Scott Eyman . Empire of Dreams: The Epic Life of Cecil B. DeMille . Simon and Schuster. 2010 . 592pp. Sumiko Higashi . Cecil B. DeMille and American Culture: The Silent Era . University of California Press. 1994 . 264pp. Charles Higham . Cecil B. DeMille: A Biography of the Most Successful Film Maker of Them All . New York: Charles Scribner's Sons. 1973 . 335pp. Phil A. Koury . Yes, Mr. DeMille . New York: G.P. Putnam's Sons. 1959 . 319pp. Simon Louvish . Cecil B. DeMille and the Golden Calf . London: Faber and Faber. 2007 . 507pp. Simon Louvish . Cecil B. DeMille: A Life in Art . New York: Thomas Dunne Books/St. Martin's Press. 2007 . 507pp. Michel Mourlet; Michel Marmin . Cecil B. DeMille . Paris: Seghers. 1968 . 192pp. Hortense Myers; Ruth Burnett . Cecil B. DeMille, Young Dramatist . Indianapolis: Bobbs-Merrill. 1963 . 200pp. Katherine Orrison . Written in Stone: Making Cecil B. DeMille's Epic, The Ten Commandments . Lanham, MD: Vestal Press. 1999 . 196pp. Gene Ringgold; DeWitt Bodeen . The Films of Cecil B.