DOCSLIB.ORG

Wpsimaad IK 751 [HLUHV

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

’ By McManus WHAT THE PRESS AGENTS SAY I Bringing Up Father m \ I TOO ARE GOING TO THE r /*. UUTT DAY OF NANCY CARROLI “Daughter of the Dragon” and SAvlD OPERA Rosie”—Double so ITHOUGHT OH,THE ^ IN “PERSONAL MAID” "Everything's OPERA-HOUSE to-night, Iis» PALACE Bill at the 7 THERE LAST WEU.5 »•*» AT FOX POM Strand V/OX .CLOSED don't argue -r WANT-TOO THE OPERA I AM OPERA MIGHT- A.MEW is the last day of Nancy Two hit talking pictures con- TO SEE THAT OPERA- SAW" Today MUSICAL COMEDT HOOSEJUST Carroll In "Personal Maid” at the stituting one of the flnest dauble IT >_A(6T WEEK-tV* BEAUTIFUL; PLAVlM’ are AS MAGGltt Fox Poll Palace, starting tomorrow feature programs of the year TO TAKE AN HERE? 1% MOW PUatflMG- for four days' engagement, will to be found at Warner Brothers' TOUfV/E GOT ORDERED- offer a double feature program, Strand theater starting this aft- INTEREST IN MUSIC “The Mad Parade" with Evelyn ernoon and continuing until Friday Bient, Irene Rich, Lilyan Tash- night. Sessue Hayakawa returns to man and Louise Fazenda, the second the screen as does Anna May Wong feature will be Buster Keaton in in a new episode of the fascinating "Tl>e Sidewalks of New York.” Sah Kohmer series (limed by Para- lit Some sort of a record for back- mount at “The Daughter of the ground or directorial'experlence is Dragon”. Warner Oland again held by William Beaudine, who di- plays Dr Fu Manchu. This is Sessue rected the Paramount release, "The Hayakawa's first talking screen ap- Mad Parade,” which opens at the pearance. He was an idol In the Fox Poll Palace Thursday for four days of the old talkies. days’ engagement. For those who like romance Beaudine, since first meeting the seasoned with pussies, thrills and light of day in New York city, action evolved from lurking mys- IllIU three or four years before Dewey tery, this production talks right out nau- began strafing the imperial and says things to any movie hit big tical emissaries of Spain, has audience. of all that is to be the high spots Miss Wong is an original actress "77U hit along producer-way. of obvious personable points, who York stu- He began in the New surrenders to her dying father’s in that com- dios of Blograph 1909, wish, and drops a glamorous point of ability Wood Cowan pany thinking enough of vantage in London's theatrical A Blue Note! By effort to elevate him from its MOM’N pop and firmament to project a program of ■VI and department to cutting editing vengeance. With all his fiendish ap- A director he has a directorship. of chemistry and psychol- with Uni- plication -TWEOE'S MJALMAM Gosh, n’s * Ncfflci wow JUST since remained, Kalem, Fu Manchu was not a more TME ‘1 ~KxU Christie, Goldwyn, ogy, THE / TW\S OUT OF versal, Triangle, resolute menace than the pretty fa <jEE, 1 MIGHT HNME HR. tfDOQE ABOUT KEEP Fox, First National, United Artists, POOP.’ daughter proves to be. Loved by an TOllNCE M4 ANSWER TD MY/ INSTALMENT "WETS OMBRn*OUE I 'OMSK’S SIGHT. Mary Pickford Productions, War- exhalted gentleman of her own GLADYS i HE HNS WRRIESJ _ OEFRlGtCATbR DEM?, ners, Famous Players, and Metro- LETTER OW OVJC race, loving an English nobleman, SENT A enough Goldwyn. she allows her heart dictates no For several of these companies LETTER ON chance to defeat the accomplish- he worked again and again, his re- ment of her oath. ITS sults and making wel- justifying The scene of action spins from come his services to any company MYSTERIOUS Limehouse, London’s gay white way which has an especially difficult and murky Thames river, to lux- MISSION, or different problem. Handling urious estates of the titled. There SHE'S nine actresses, each jealous of her are of secret panels and rights as a featured performer, plenty BEEN KEEPINC passageways, ominlous shadows, was problem enough in "The Mad ** that will AN OPTIC P1. and a climax grasp your heart than baby hands can Evelyn Brent, Irene Rich, Louise tighter ON THE take hold of a proffered finger or Fazenda, Lllvan Tashman, Marce- MMLNWN line Day, June Clyde, Frltzi Ridge- doo-dad. roles of note are en- »■%***» and the Twins were Supporting 0 way, Keating Frances harmonized by Beaudine acted by Holmes Herbert, perfectly Dade Bramweil Fletcher, Neila on his newest development for Nicholas Soussanin and Paramount. Walker, Grant. The story is said to be a thrilling Lawrence feature is "Ev- one of the wartime adventures of The companion with those two nine girls who thought serving the erything's Rosie” of Wheeler and fighting men on the western front clown princes joy, in the roles. It is as a canteen unit, would be quite Woolsey leading and a comedy packed with laughs a lark< .. from to Beaudine is a member of the clever dialogue beginning of Motion Picture Arts end. This bill is unquestionably Academy Water- and Sciences and the Hollywood one of the finest seen in J. P. McEVOY and J. H. STRIEBEL M. P. D. A., two of Hollywood’s bury this year. By who have DIXIE DUGAN—Not So Good classic orders for those ■—»— “3 GIRDS ___ attained recognition in the making “PAGAN LADY” AND ! better DOST" AT NEW GARDEN of bigger and photoplays. f In between times, when he finds -TT'FT ITS FOR DEMONSTRATW ^ AND YOU© 8C THE. those rare intervals, he rates fish- "Listen, Beautiful! From now on MERES A FUNNY AO. .SEARCH .SURE, IADV- BUT AN NEW REDUCING* TREATMENT lhg, hunting and golf as his prime you're my business!” That’s what MICKEY—* WANTED, GIRL, I'M LOOKING FOR \ A Mike told Dot Hunter the me.—r- AM, AFTER4? Hobbles. bingo BE. IN DRUG STORE. WINDOWS- win ne busier he saw her—a barmaid SUM. DARK. PRETTY. TO WHY DONT Y0 A"° vouRt The co-feature first time | AFTER— MISS HERE. '5 CCNMA in his latest comedy riot, a bar—and he was am TU8B Keating in Havana AFTER—' APPLY AND THE TYPE. X)-What;s THAT full length feature, "Sidewalks of right! JUST ** *"«■ w BEFORE V Hew York” with Anita Page and The affairs of Dot and Dingo are (Jllff Edwards. The Fox Movie- depicted in "Pagan Lady,” the Co- tone News and Novelties will com- lumbia picture featuring Evelyn TOD plete the program. Brent. Conrad Nagel, Charles Bick- ford, Roland Young, William Far- msay BANKHEAD AND TALI'LLAH num and Lucille Gleason at the mnitom POPt'IjAR FREDERIC MARCH New Garden theater to-day and “MY SIN” IN PARAMOl'NT’S to-morrow. <& AT STATE TODAY OPENS "Pagan Lady,” a stage play by William DuBots, was a sensation Paramount's aee picture of the on Broadway for a season with Le- year, "My Sin ", opens a three day nore Ulrlc playing the title role. at Warner Brothers' engagement Miss Brent plays Miss Ulric’s role thater this afternoon. Stata —that of a bootlegger’s moll who This story of the regen- thrilling breaks through the suppressed de- eration of a man and woman, one sires of a young missionary who orushed by biter circumstances, the is trouble mnklng up his other demoralized by wild living, having about his vocation. It's a has Tallulah Bankhead and Fred- mind John Francis Dillon production eric March in its leading roles. and said to be a drama story is filled with dramatic powerful The morals. Its vivid scenes reach of modern incidents. found fool’s frot* the tropical atmosphere of One, a gold-digger, Innocent and trusting Panama to the noise and hurry of gold, another and New York. A mas- paid the penalty of her trust, sophisticated for ter hand has taken the theme and the third, searching happiness It for herself. Blosser woven vigorous action into a thrill- for others found Do Tell! By Fox comedy ing drama that intrigues the imag- "3 Girls Lost” Freckles and grips the emotions. drama, which Is the unit attrac- tells the colorful and roman- -' a ardmount, realizing the rich pos- tion, J4I,PEU_AS.’ VJE MO use TRVlM' VEAW? v^ll^at l peas? you SA1/ THAT tiation of the story for pictured tic story of three country girls, n OOPT sibilities .... lb so come to kiMOA. surprised you, TO <36T IKI THEBE DO TUey \WA»JT lb H6ROJ7 dramatics, selected the most gifted who In search of romance, Qreckles, AMO WoWoZ/a A6AlP,OSSl6,OQ artists available in making up the Chicago, where they become hope- DIDMT ViB._.CMOW VME TRIED—THEBES vir lost in the dizzy whirl of the TASALOMtf TU- JUST Di£ east. lessly OSCAR., OVER 7b FRECkLES' M1LDOJ \TaaHah Bankhead, vivacious, life. A REPORTERS Tallulah city’s night AMD OSCAR BoY'SETTlUS 1/ 4?- F03iVi LAUSH&J-. j talented, and charming, with a rec- Loretta Young, Joyce Compton ( op bb«ht Mouse wtm wa" AM" PMOTbSRAPHERS in both enact the feminine THOSE KIDS WAHAa^ ord of stage successes and Joan Marsh WAVE IM HIS MOUSE// America and England, and Fred- trio with John Wayne and. Lew HOME IS A LOAD AMD MCRO-HAAH^ rich in and ci- featured male roles. ARRIVED W/. eric March, stage Cody In the OFF OF My EARLY, -HaaH* nematic experience, share the Sidney Lanfleld directed. UOME_ ^ WftJ" honors in this production. are “Sex Ap- "WD- Stellar The short subjects BOSHES into C’s and a H. jM, 1 dfr 1 Bankhead sprang public peal." Hitting the High AMD NOVA/, favor when she appeared in “Tar- Pathe novelty.
Recommended publications
  • Bodies Without Borders: Body Horror As Political Resistance in Classical

    Bodies Without Borders: Body Horror As Political Resistance in Classical

    Bodies without Borders: Body Horror as Political Resistance in Classical Hollywood Cinema By Kevin Chabot A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario ©2013 Kevin Chabot Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94622-0 Our file Notre reference ISBN: 978-0-494-94622-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
  • ABSTRACT Title of Document: COMMUNICATING FEAR in FILM

    ABSTRACT Title of Document: COMMUNICATING FEAR in FILM

    ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship
  • White Zombie, I Walked with a Zombie, Night of the Living Dead, Dawn of the Dead, Day of the Dead, Victor Halperin, Georges A

    White Zombie, I Walked with a Zombie, Night of the Living Dead, Dawn of the Dead, Day of the Dead, Victor Halperin, Georges A

    Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche To cite this version: David Roche. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today. Textes & Contextes, Université de Bourgogne, Centre Interlangues TIL, 2011, Discours autoritaires et résistances aux XXe et XXIe siècles, https://preo.u- bourgogne.fr/textesetcontextes/index.php?id=327. halshs-00682096 HAL Id: halshs-00682096 https://halshs.archives-ouvertes.fr/halshs-00682096 Submitted on 23 Mar 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche Maître de conférences, Centre Interlangues Texte, Image, Langage (EA 4182), Université de Bourgogne, 2 boulevard Gabriel, 21000 Dijon, mudrock [at] neuf.fr Critics have repeatedly focused on the political subtexts of the living dead films of George A. Romero, revealing, notably, how they reflect specific social concerns. In order to determine what makes the zombie movie and the figure of the zombie so productive of political readings, this article examines, first, the classic zombie movies influenced by voodoo lore, then Romero’s initial living dead trilogy (1968-1985), and finally some of the most successful films released in the 2000s.
  • American Heritage Center

    American Heritage Center

    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
  • Charlie Chan Films, 1929 to 1949, Ranked from Highest to Lowest “Quality”

    Charlie Chan Films, 1929 to 1949, Ranked from Highest to Lowest “Quality”

    Charlie Chan films, 1929 to 1949, Ranked from Highest to Lowest “Quality” Title Year Director(s) Actor Studio SCORE Charlie Chan at the Opera 1937 H. Bruce Humberstone Warner Oland Fox 1.56 Charlie Chan in London 1934 Eugene Forde Warner Oland Fox 1.52 Charlie Chan in Egypt 1935 Louis King Warner Oland Fox 1.25 Charlie Chan at Treasure Island 1939 Norman Foster Sidney Toler Fox 1.23 Castle in the Desert 1942 Harry Lachman Sidney Toler Fox 1.15 Charlie Chan in Reno 1939 Norman Foster Sidney Toler Fox 0.89 Charlie Chan at the Wax Museum 1940 Lynn Shores Sidney Toler Fox 0.87 Charlie Chan in Shanghai 1935 James Tinling Warner Oland Fox 0.84 Charlie Chan in Honolulu 1939 H. Bruce Humberstone Sidney Toler Fox 0.81 Charlie Chan in Panama 1940 Norman Foster Sidney Toler Fox 0.79 Charlie Chan on Broadway 1937 Eugene Forde Warner Oland Fox 0.76 Charlie Chan in Rio 1941 Harry Lachman Sidney Toler Fox 0.74 Charlie Chan in Paris 1935 Lewis Seiler , Hamilton Warner Oland Fox 0.73 MacFadden The Black Camel 1931 Hamilton MacFadden Warner Oland Fox 0.70 Charlie Chan at the Race Track 1936 H. Bruce Humberstone Warner Oland Fox 0.54 Charlie Chan at the Circus 1936 Harry Lachman Warner Oland Fox 0.49 Charlie Chan at the Olympics 1937 H. Bruce Humberstone Warner Oland Fox 0.47 Murder Over New York 1940 Harry Lachman Sidney Toler Fox 0.46 Dead Men Tell 1941 Harry Lachman Sidney Toler Fox 0.41 Charlie Chan's Secret 1936 Gordon Wiles Warner Oland Fox 0.39 Charlie Chan's Murder Cruise 1940 Eugene Forde Sidney Toler Fox 0.23 Charlie Chan in Monte Carlo 1938 Eugene Forde Warner Oland Fox 0.09 City in Darkness 1939 Herbert I.
  • The Dark Side of Hollywood

    The Dark Side of Hollywood

    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
  • The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters

    The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters

    The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America.
  • Zombie Films in 21St Century America

    Zombie Films in 21St Century America

    ! ! ! ! ! ! ! ZOMBIFIED: AMERICA HAS BEEN BITTEN! ZOMBIE FILMS IN 21ST CENTURY AMERICA by Emily A. Mendez Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Film, Television, and Digital Media Texas Christian University Fort Worth, Texas May 3, 2013 ! ! ! ! ! ! ! ! ! ii ! ! ! ! ! ! ! ZOMBIFIED: AMERICA HAS BEEN BITTEN! ZOMBIE FILMS IN 21ST CENTURY AMERICA Project Approved: Tricia Jenkins, Ph.D. Department of Film, Television, and Digital Media (Supervising Professor) Joan McGettigan, Ph.D. Department of Film, Television, and Digital Media Ann George, Ph.D. Department of English ! ! iii TABLE OF CONTENTS INTRODUCTION .............................................................................................................. 1 THE ZOMBIE EVOLUTION ............................................................................................ 2 THE ZOMBIE RENAISSANCE ........................................................................................ 9 THE ZOMBIE APPEAL .................................................................................................. 12 Voyeurism, 9/11, and the Zombie Apocalypse ............................................................ 12 A Fear of Biological Epidemics ................................................................................... 17 A Fear of Technological Reliance ............................................................................... 22 THE ZOMBIE METAPHOR ..........................................................................................
  • Figure 4. Pickford Studio Portrait for the Poor Little Rich Girl (Dir

    Figure 4. Pickford Studio Portrait for the Poor Little Rich Girl (Dir

    Figure 4. Pickford studio portrait for The Poor Little Rich Girl (dir. Maurice Tourneur, 1917). Courtesy of the Academy of Motion Picture Arts and Sciences. UC-Studlar-text-CS5.5-revs.indd 18 9/17/2012 11:33:13 AM Chapter 1 Oh, “Doll Divine” Mary Pickford, Masquerade, and the Pedophilic Gaze Mary Pickford, doll divine, Year by year, and every day At the moving-picture play, You have been my valentine. — Vachel Lindsay, “To Mary Pickford, Moving-Picture Actress” Mary Pickford was, arguably, the most famous woman of the first quar- ter of the twentieth century. Inarguably, she was one of the first major stars of the Hollywood film industry and one of the very few — female or male — able to sustain stardom for more than twenty years. Born Gladys Smith in Toronto, Canada, Mary Pickford became a stage actress at age six (published age “5”). She first appeared in motion pictures in one-reel- ers of American Biograph in the spring of 1909. In the 1910s the actress known as “Our Little Mary” quickly cemented her popularity through numerous films that coincided with the industry’s shift to Hollywood and using the actor as a personality for drawing audiences to the box- office.1 Pickford was promoted as “America’s Sweetheart,” “The World’s Sweetheart,” and, as poet Vachel Lindsay dubbed her, “The Queen of the Movies.”2 Her films for Famous Players in the late 1910s regularly netted more than a million dollars a year. In 1918 an article in American Magazine proclaimed what by then was obvious: “Our Little Mary” had become “the most popular motion
  • America Radio Archive Broadcasting Books

    America Radio Archive Broadcasting Books

    ARA Broadcasting Books EXHIBIT A-1 COLLECTION LISTING CALL # AUTHOR TITLE Description Local Note MBookT TYPELocation Second copy location 001.901 K91b [Broadcasting Collection] Krauss, Lawrence Beyond Star Trek : physics from alien xii, 190 p.; 22 cm. Book Reading Room Maxwell. invasions to the end of time / Lawrence M. Krauss. 011.502 M976c [Broadcasting Collection] Murgio, Matthew P. Communications graphics Matthew P. 240 p. : ill. (part Book Reading Room Murgio. col.) ; 29 cm. 016.38454 P976g [Broadcasting Collection] Public Archives of Guide to CBC sources at the Public viii, 125, 141, viii p. Book Reading Room Canada. Archives / Ernest J. Dick. ; 28 cm. 016.7817296073 S628b [Broadcasting Skowronski, JoAnn. Black music in America : a ix, 723 p. ; 23 cm. Book Reading Room Collection] bibliography / by JoAnn Skowronski. 016.791 M498m [Broadcasting Collection] Mehr, Linda Harris. Motion pictures, television and radio : a xxvii, 201 p. ; 25 Book Reading Room union catalogue of manuscript and cm. special collections in the Western United States / compiled and edited by Linda Harris Mehr ; sponsored by the Film and Television Study Center, inc. 016.7914 R797r [Broadcasting Collection] Rose, Oscar. Radio broadcasting and television, an 120 p. 24 cm. Book Reading Room annotated bibliography / edited by Oscar Rose ... 016.79145 J17t [Broadcasting Collection] Television research : a directory of vi, 138 p. ; 23 cm. Book Reading Room conceptual categories, topic suggestions, and selected sources / compiled by Ronald L. Jacobson. 051 [Broadcasting Collection] TV guide index. 3 copies Book Archive Bldg 070.1 B583n [Broadcasting Collection] Bickel, Karl A. (Karl New empires : the newspaper and the 112 p.
  • P-26 Motion Picture Collection Repository: Seaver Center For

    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.
  • Columbia Pictures: Portrait of a Studio

    Columbia Pictures: Portrait of a Studio

    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.