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Torrance Herald
THURSDAY, FEBRUARY 21. 1935 Page 4 TORRANCE IfBRALD, Torrancp,-California BRITISH STAR of "Evergreen" is On the Double Bill At Fox Redondo Three Scintillating Stars Shine at Torrance "Bordertown" with Paul Muni FILM FIND Starting Sunday A Ucnn W. Levy romance as Opens at Lomita Tonight 1 »yinpalhctlcally treated na memorable Mm. MoonllBht." "fiapRgrutiflu' *«l<1 to embrace much splendor- as bus ever been crowded ,'irito" one iiTuittcal film, an a cant ill real favorites are .<ai to b'1 the ingredients of Cjaumon Uritlsh's currfnt offering at the Toiranre Theatre, Jessie Mat thews in "Kvcrsrrcen." The pic turn's <-ni,'UBc>mrnt will run thret nlchts starting tonight, as jmniun tu the feature, "Forsaking All Others." Miss Matthews Is the newest and one of the most sensatlona ' film finds of G. B. Production! :md lias had an enviable reputa- lio __ fit London previous to her eleva tion i', film .stardom. She played a bu!i<l y.-ar on the stage In "Ei green" )..-fore it was 1 transfel to tin- films. West of the Pecos" Opens Not'Sjnce "Dinner At Eight" motion picture created as much Tonight at Plaza Theatre Ivance discussion as Metro-Gold- yn - Mayor's newest offering, Hailed as the talking screen's two greatest portrayer* of emo'tion,, "Forsaking All Others," .which Barnum and His Tippling Aid< Paul Muni and Sette Davis smilingly regard the result of their greatest ihown tonight, Friday and,Sat dramaticmaic effort, the Warner Bros,ros, prouconproduction "Border-town,", in whichc urday at the Torrance Theatre star of ''I Am a Fugitive From the Chain Gang" and the sensatio i-ith a cast headed by three of "Of Human Bondage" reach new stellar heights. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
CINERAMA: the First Really Big Show
CCINEN RRAMAM : The First Really Big Show DIVING HEAD FIRST INTO THE 1950s:: AN OVERVIEW by Nick Zegarac Above left: eager audience line ups like this one for the “Seven Wonders of the World” debut at the Cinerama Theater in New York were short lived by the end of the 1950s. All in all, only seven feature films were actually produced in 3-strip Cinerama, though scores more were advertised as being shot in the process. Above right: corrected three frame reproduction of the Cypress Water Skiers in ‘This is Cinerama’. Left: Fred Waller, Cinerama’s chief architect. Below: Lowell Thomas; “ladies and gentlemen, this is Cinerama!” Arguably, Cinerama was the most engaging widescreen presentation format put forth during the 1950s. From a visual standpoint it was the most enveloping. The cumbersome three camera set up and three projector system had been conceptualized, designed and patented by Fred Waller and his associates at Paramount as early as the 1930s. However, Hollywood was not quite ready, and certainly not eager, to “revolutionize” motion picture projection during the financially strapped depression and war years…and who could blame them? The standardized 1:33:1(almost square) aspect ratio had sufficed since the invention of 35mm celluloid film stock. Even more to the point, the studios saw little reason to invest heavily in yet another technology. The induction of sound recording in 1929 and mounting costs for producing films in the newly patented 3-strip Technicolor process had both proved expensive and crippling adjuncts to the fluidity that silent B&W nitrate filming had perfected. -
The Search for Spectators: Vistavision and Technicolor in the Searchers Ruurd Dykstra the University of Western Ontario, [email protected]
Kino: The Western Undergraduate Journal of Film Studies Volume 1 | Issue 1 Article 1 2010 The Search for Spectators: VistaVision and Technicolor in The Searchers Ruurd Dykstra The University of Western Ontario, [email protected] Abstract With the growing popularity of television in the 1950s, theaters experienced a significant drop in audience attendance. Film studios explored new ways to attract audiences back to the theater by making film a more totalizing experience through new technologies such as wide screen and Technicolor. My paper gives a brief analysis of how these new technologies were received by film critics for the theatrical release of The Searchers ( John Ford, 1956) and how Warner Brothers incorporated these new technologies into promotional material of the film. Keywords Technicolor, The Searchers Recommended Citation Dykstra, Ruurd (2010) "The Search for Spectators: VistaVision and Technicolor in The Searchers," Kino: The Western Undergraduate Journal of Film Studies: Vol. 1 : Iss. 1 , Article 1. Dykstra: The Search for Spectators The Search for Spectators: VistaVision and Technicolor in The Searchers by Ruurd Dykstra In order to compete with the rising popularity of television, major Hollywood studios lured spectators into the theatres with technical innovations that television did not have - wider screens and brighter colors. Studios spent a small fortune developing new photographic techniques in order to compete with one another; this boom in photographic research resulted in a variety of different film formats being marketed by each studio, each claiming to be superior to the other. Filmmakers and critics alike valued these new formats because they allowed for a bright, clean, crisp image to be projected on a much larger screen - it enhanced the theatre going experience and brought about a re- appreciation for film’s visual aesthetics. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Translation Rights List Non-Fiction May 2019
Translation Rights List Including Non-Fiction May 2019 Contents • Rights Department p.3 • Little, Brown Imprints p.4 • General p.5 • Culture p.13 • Business & Management p.19 • History p.22 • Music p.28 • Memoirs & Biography p.34 • Sport p.39 • Travel & Nature p.41 • Health, Self-Help & Popular Psychology p.42 • Parenting p.48 • Food & Cookery p.53 • Overcoming Series p.56 • Rights Representatives p.59 Key • Rights sold displayed in parentheses indicates that we do not control the rights • An asterisk indicates a new title since previous Rights list • Titles in italics were not published by Little, Brown Book Group 2 Rights Department ANDY HINE Rights Director Brazil, Germany, Italy, Poland, Scandinavia, Latin America and the Baltic States [email protected] +44 (0) 20 3122 6545 KATE HIBBERT Rights Director USA, Spain, Portugal, Far East, the Netherlands, Flemish Belgium and the Indian Subcontinent [email protected] +44 (0) 20 3122 6619 HELENA DOREE Senior Rights Manager France, French Belgium, Turkey, Arab States, Israel, Greece, Bulgaria, Czech Republic, Slovak Republic, Hungary, Romania, Russia, Serbia and Macedonia [email protected] +44 (0) 20 3122 6598 HENA BRYAN Rights Trainee [email protected] +44 (0) 20 3122 0693 Little, Brown Book Group Follow us on Twitter: Carmelite House @LBBGRights 50 Victoria Embankment London EC4Y 0DZ UNITED KINGDOM 3 Little, Brown Imprints 4 General Highlights WHEN THE CLOUDS FELL FROM THE SKY THE ADVENTURES OF AZUKI 5 THE ADVENTURES OF AZUKI THE MINIATURE HEDGEHOG Humour| Robinson | 112pp |60 colour photographs| September 2019 A full-colour collection of photographs of the adorable Azuki, the miniature hedgehog, enjoying some of his favourite adventures, from camping to baking Riding on the popularity of everyone's favourite Insta-famous miniature hedgehog (400,000 followers on Instagram and counting), this adorable illustrated book stands out as a gem of originality among the glut of dog and cat books. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
“Canned History”: American Newsreels and The
“Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds. -
The Algonquin Round Table New York: a Historical Guide the Algonquin Round Table New York: a Historical Guide
(Read free ebook) The Algonquin Round Table New York: A Historical Guide The Algonquin Round Table New York: A Historical Guide QxKpnBVVk The Algonquin Round Table New York: A Historical Guide GF-51433 USmix/Data/US-2015 4.5/5 From 294 Reviews Kevin C. Fitzpatrick DOC | *audiobook | ebooks | Download PDF | ePub 13 of 13 people found the following review helpful. A great way to introduce yourself to a group who made literary historyBy Greg HatfieldIt seems my entire life has been connected to the Algonquin Round Table. When I first discovered Harpo Marx, as a youngster, it led me to his autobiography, Harpo Speaks,where I then learned about the Round Table. Alexander Woollcott, George S. Kaufman, Dorothy Parker, Robert Benchley, Franklin P. Adams, Edna Ferber, Heywood Broun, and all the rest who made up the Vicious Circle, became an obsession to me and I had to learn about their lives and, more importantly, their work.Kevin Fitzpatrick has done a remarkable job with this book, putting the group into a historical perspective, and giving the reader a terrific overview of what made the Algonquin Round Table unique and worthy of your time. They were the leading writers and critics of the 1920's, who really did enjoy one another's company, meeting practically every day for lunch for ten years at the Algonquin Hotel.Fitzpatrick says, in one section, that there isn't a day, in this modern era, where someone, somewhere, mentions one of the group in a glowing context (I'm paraphrasing here). The fact remains that the work of Kaufman, Mrs. -
Newsreel Association of Great Britain and Ireland
THE NEWSREEL ASSOCIATION OF GREAT BRITAIN AND IRELAND Jeff Hulbert This article is about the British newsreels’ trade body the Newsreel Association of Great Britain and Ireland (NRA). It is not a definitive study, but rather seeks to provide a taste of the treasures that are contained within the Association’s bound minute books, now held in the British Film Institute’s Special Collections department. The minutes are the best record that is left to posterity by an organisation now long gone. It was active as an industry watchdog, protector, promoter and occasional referee for over twenty years and there is much to be learned about the newsreels and the people who played an active role in the business of bringing newsfilm to the cinema screen. At some time between its creation and dissolution all of the correspondence files — that would probably have included many gems as well as the routine stuff of business — disappeared, probably consigned to the dustbin. There were plenty of opportunities for this to happen as the Minutes record several changes of address for the NRA secretariat. The minute books thus provide a record of the way the industry operated — rather than how the companies themselves functioned. An important point to bear in mind is that the minutes themselves only show the business items that reached the NRA council for decision. Other issues would have been decided without reference to it. In this respect the NRA was no different to any other business. This study is not a review of historical events, but rather is about issues as the NRA minutes recorded them. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
The Cine-Kodak News; Vol. 8, No. 10; Sept
SEPTEMBER OCTOBER 1932 _ S_P_f_f _D_ makes it the film for autumn use p ERHAPS your movie "stars" spend most of their daytime hours in school ... are available for picture making only in late afternoon or evening. So load your camera with Cine-Kodak Super-sensitive Film ... it doubles the outdoor effect iveness of your camera's lens . and go on making pictures regardless of the diminished autumn sunshine. For this remarkable fi lm has all the speed you ' II need to get the shots you want. Twice as fast as regular Panchromatic Film in daylight ... at least three times as fast under artificial Cine~Kodak Super-sensitive Pan- light. chromatic Film- costs only .$4 the 50-foot roll. Makes even indoor Cine~Kodak Super~sensitive " Pan" puts your camera on a movies easy to take with 35 cent year round, day or night basis of reliable movie making. Photoflood lamps. Cine-Kodak Super-sensitive Panchromatic Film SEPTEMBER-OCTOBER 1932 Published Bi-Monthly in th e interests of Amateur Motion Pictures by the E WS Eastman Kodak Company, Rochester, N . Y., Volume 8, Numbe r 10. TRANSOCEANIC by Henry Locksmith FIFTY years ago, when one left his homeland to go to America, We bought a Cine-Kodak, several hundred fee t of film, and it was a definite turning point. started. Friendly faces and places, the things with which one had The house, outside and inside .. the grounds ... the baby grown up, were lost- cut off completely. Perhaps an occasional ... ourselves .. a party . .. our neighbors and friends ... the visit- spaced years apart- but much that one had known was pets ..