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Akins Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8h132ss No online items Zoë Akins Papers: Finding Aid Finding aid prepared by Gayle M. Richardson. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2008 The Huntington Library. All rights reserved. Zoë Akins Papers: Finding Aid mssZA 1-7330 1 Overview of the Collection Title: Zoë Akins Papers Dates (inclusive): 1878 - 1959 Collection Number: mssZA 1-7330 Creator: Akins, Zoë, 1886-1958. Extent: 7,354 pieces in 185 boxes + ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the personal and professional papers of American writer Zoë Akins (1886-1958). It includes correspondence with various literary, theatrical and motion picture figures of the first half of the twentieth century. There are also manuscripts of novels, plays, poems, short stories, outlines for plays, and articles. There is also correspondence related to her husband, Hugo Rumbold (d. 1932), and the Rumbold family. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard . -
Press to Go There to Cover It
PUBLICITY MATERIALS Tasmanian Devil: The Fast and Furious Life of Errol Flynn CONTACT PRODUCTION COMPANY 7/32 George Street East Melbourne 3002 Victoria AUSTRALIA Tel/Fax: 0417 107 516 Email: [email protected] EXECUTIVE PRODUCER / PRODUCER Sharyn Prentice PRODUCER Robert deYoung DIRECTOR Simon Nasht EDITOR Karen Steininger Tasmanian Devil: The Fast and Furious Life of Errol Flynn BILLING / TWO LINE SYNOPSIS Tasmanian Devil: The Fast and Furious Life of Errol Flynn Errol Flynn remains one of the most fascinating characters ever to work in Hollywood. Remembered as much for his scandals as his acting, there was another side to Errol: writer, war reporter and even devoted family man. THREE PARAGRAPH SYNOPSIS Tasmanian Devil: The Fast and Furious Life of Errol Flynn Fifty years after his death, people are still fascinated by Errol Flynn. The romantic star of dozens of Hollywood movies, Flynn’s real life was in fact far more adventurous than any of his films. In a life dedicated to the pursuit of pleasure, Flynn became notorious for his love affairs, scandals and rebellious nature. But there was another, much less well known side to his character. He was a fine writer, both of novels and journalism, wrote well reviewed novels and reported from wars and revolutions. Among his scoops was the first interview with the newly victorious Fidel Castro who Flynn tracked down in his mountain hideaway in Cuba. In Tasmanian Devil we discover the unknown Flynn, from his troubled childhood in Tasmania to his death, just fifty years later, in the arms of his teenage lover. We hear from his surviving children, friends and colleagues and discover an amazing life of almost unbelievable events. -
PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 1 AUTO RACING AND CLASSIC AUTOS IN FILM (14) VINTAGE PHOTOGRAPHS. $350 2 SEX IN CINEMA (55) VINTAGE PHOTOGRAPHS. $4,500 3 LILLIAN GISH VINTAGE PORTRAIT PHOTOGRAPH BY HARTSOOK STUDIO. $200 4 COLLECTION OF (19) PORTRAIT PHOTOGRAPHS OF LUCILLE BALL, TALLULAH $325 BANKHEAD, THEDA BARA, JOAN CRAWFORD, AND OTHERS. 5 ANNA MAY WONG SIGNED PORTRAIT PHOTOGRAPH BY CECIL BEATON. $4,000 6 MABEL NORMAND (7) SILENT-ERA VINTAGE PHOTOGRAPHS. $200 7 EARLY CHILD-STARS (11) VINTAGE PHOTOGRAPHS INCLUDING OUR GANG AND $225 JACKIE COOGAN. 9 BARBARA LA MARR (3) VINTAGE PHOTOS INCLUDING ONE ON HER DEATHBED. $325 10 ALLA NAZIMOVA (4) VINTAGE PORTRAIT PHOTOGRAPHS. $300 11 SILENT-FILM LEADING LADIES (13) VINTAGE PHOTOGRAPHS. $200 13 SILENT-FILM LEADING MEN (10) VINTAGE PHOTOGRAPHS. $200 14 PRE-CODE BLONDES (24) VINTAGE PHOTOGRAPHS. $325 15 CHARLIE CHAPLIN AND PAULETTE GODDARD (2) VINTAGE PHOTOGRAPHS. $350 16 COLLECTION OF (12) OVERSIZE PORTRAIT PHOTOGRAPHS OF RENÉE ADORÉE, $400 MARCELINE DAY, AND OTHERS. 17 COLLECTION OF (17) OVERSIZE PORTRAIT PHOTOGRAPHS OF EVELYN BRENT, $1,200 NANCY CARROLL, LILI DAMITA, MARLENE DIETRICH, MIRIAM HOPKINS, MARY PICKFORD, GINGER ROGERS, GLORIA SWANSON, FAY WRAY AND OTHERS. 18 MYRNA LOY (14) VINTAGE PHOTOGRAPHS INCLUDING SEVERAL RARE $375 PRE-CODE IMAGES. Page 1 of 85 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood 65 Auction 65, Auction Date: 10/17/2014 LOT ITEM PRICE PREMIUM 19 PREMIUM SELECTION OF LEADING MEN (32) VINTAGE PHOTOGRAPHS. -
SAVANT BOOK REVIEW Tuesday December 5, 2017
SAVANT BOOK REVIEW Tuesday December 5, 2017 Hello! A Book Review today, and a very positive one. Good books about film directors are not easy to come by, and when a real winner surfaces like Bernard Eisenschitz’s book on Nicholas Ray or Foster Hirsch’s on Otto Preminger, I take notice. Joining those for reference-quality value and getting an A+ for sheer entertainment, Alan K. Rode’s Michael Curtiz A Life in Film is engaging from the start and doesn’t let up. Curtiz is different because he was never a cult director or one likely to be studied from an academic viewpoint — he was an artisan that for the bulk of his career worked at just one studio. But he had a terrific, recognizable style and made more ‘great’ golden age Hollywood pictures than anybody — Errol Flynn swashbucklers, Yankee Doodle Dandy, Casablanca, Mildred Pierce, White Christmas among them. He wasn’t an outright rebel or a hyphenate that generated his own scripts; he didn’t have highly personal themes to express. He also did everything — high adventure, literary adaptations, tense thrillers, ‘women’s dramas’ and even light comedies. Although Curtiz tangled with his studio bosses Jack Warner and Hal Wallis as much as anybody, before this book all I really knew about him was that he had made silent films in Hungary, and that he tied mogul Sam Goldwyn for quoted malapropisms, the most famous being “Bring on the empty horses,” from The Charge of the Light Brigade. With a sure hand, good research and a knack for amusing ironies, author Rode really brings Curtiz to life. -
R,Fay 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012
DEPARTMENT OF CITY PLANNING EXECUTIVE OFFICES OFFICE OF HISTORIC RESOURCES MICHAEL LOGRANDE 200 N. SPRING STREET. ROOM 620 CITY OF Los ANGELES los ANGELES,CA 90012·4801 DIRECTOR (213) 978 ·1200 CALIFORNIA (213) 978·1271 ALAN BELl, Arc? CULTURAL HERITAGE COMMISSION O,PUlY D1R'CTOR· (213) 978-1272 RICHARD BARRON PR,S!O~NT USA WEBBER, Ale!> ROELLA H. LOUIE DEPUTY DIRECTOR VlCE-PR,SIOENT (213) 978-1274 TARA}. HAMACHER GAlL KENNARD EVA YUAN-MCDANrEl OZSCOTT DEPUlY DIRECTOR ANTONIO R. VILLARAIGOSA (213) 978-1273 FElY C PINGOl MAYOR FAX: (213) 978-1275 COMMISSION iOXECUTIVE ASSISTANT (213) 978-1294 INFORMATION (213) 978·1270 wwwplanning.ladty.org Date: r,fAY 16 2013 Los Angeles City Council Room 395, City Hall 200 North Spring Street, Room 410 Los Angeles, California 90012 Attention: Sharon Gin, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER: CHCw2013w510wHCM GIBBONSwDEL RIO RESIDENCE 757 KINGMAN AVENUE At the Cultural Heritage Commission meeting of May 9, 2013, the Commission moved to include the above property in the list of Historic-Cultural Monument, subject to adoption by the City Council. As required under the provisions of Section 22.171.10 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau. of the city whose operations may be affected by the designation of such site as a Historic-Cultural Monument. Such designation in and of itself has no fiscal impact Future applications for permits may cause minimal administrative costs. -
The Prince and the Debutante
The Prince and the Debutante The Prince was Louis Ferdinand of Prussia, or to be exact, His Royal Highness, Louis Ferdinand Victor Edward Albert Michael Hubert, Prince of Prussia (November 9, 1907 – September 26, 1994) and heir to the royal House of Hohenzollern. The headline in the New Orleans States, dated December 28, 1933, proclaimed, “GERMAN PRINCE KIDNAPED [sic] BY DEBUTANTE”. Prince Louis Ferdinand of Prussia At the time, the prince was the 26-year-old would-be emperor of Germany if his family were ever to go back to the throne, in other words, the pretender to the abolished German Empire. He was the grandson of Kaiser Wilhelm II of World War I fame, who was the grandson of Queen Victoria and Prince Albert. The article announced that the “imperial German prince” was kidnapped the previous day by Miss Anne Dickinson Robertson, a New Orleans debutante that year – “and did he love it!” Anne Dickinson Robertson All the while, “New Orleans matrons” and “society lionesses kept the telephone at the royal suite of The Roosevelt ringing with calls for „Mr. Hohenzollern‟ that kept a secretary busy.” Miss Robertson conquered the prince “with one smile” and completely disrupted “a society schedule” by making off with the young prince in a “shining new car they both borrowed from V.F. Cooper, New Orleans automobile executive” and headed for “a cocktail party at Mrs. Lillian Lewis‟.” Numerous debs were “trying their best to corner him at the Lewis cocktail party for Claudia Pipes and Elizabeth Eustis, but he had already set his eyes on pretty Anne Robertson,” reported the States on December 29, 1933. -
MICHAEL CURTIZ: from HUNGARY to HOLLYWOOD Release
The Museum of Modern Art For Immediate Release November 1992 MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD November 27, 1992 - January 23, 1993 A survey of more than fifty films by Michael Curtiz (1888-1962), one of cinema's most prolific directors from the studio era, opens on November 27, 1992, at The Museum of Modern Art. As Warner Bros, house director in the 1930s and 1940s, Curtiz symbolizes the crispness and energy that distinguished the Warners' style. On view through January 23, 1993, MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD explores the consistent quality and versatility of the filmmaker's work. The Hungarian-born Curtiz mastered virtually all genres and, during his twenty-seven-year career at Warner Bros., made every type of film from westerns and musicals to social dramas and comedies. A strong director of actors, he made stars of such disparate types as Errol Flynn, John Garfield, and Doris Day, and earned an Academy Award and a renewed career for Joan Crawford in Mildred Pierce (1945). Many of his films were popular critical and financial successes. Curtiz possessed an acute narrative sense, displayed in such remarkable films included in the exhibition as The Adventures of Robin Hood (1938), with Flynn and Olivia de Havilland; Casablanca (1942), for which Curtiz received an Academy Award for Best Director; Yankee Doodle Dandy (1942), the musical which won James Cagney an Academy Award; Mildred Pierce, the film noir portrait of an imperfect American family; Young Man with a Horn (1950), starring Kirk - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Douglas as an obsessed jazz trumpeter and inspired by Bix Beiderbecke's life; and The Breaking Point (1950), based on Ernest Hemingway's To Have and Have Not, His early successes -- Cabin in the Cotton (1932), a melodrama about sharecroppers, and The Mystery of the Max Museum (1933), an early all-color horror film -- are also included in the exhibition. -
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 Development of Child Stars in the Studio System of the 1930S Through '50S
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 "Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s Brittany N. Dalton [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Child Psychology Commons, and the Film and Media Studies Commons Recommended Citation Dalton, Brittany N., ""Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1437 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. 1 “Daddy Dearest”: The Development of Child Stars in the Studio System of the 1930s through the ‘50s Written by Brittany N. Dalton Special Thanks: Julia A. Malia, Ph. D., C.F.L.E. May 10, 2011 Abstract 2 The purpose of this paper is to analyze the effects growing up in the studio system had on child stars from the 1930s through 1950s. I chose to focus my research and analysis on three child stars in particular: Judy Garland, Elizabeth Taylor, and Shirley Temple. These three actresses each had different experiences in their careers and relationships to the studio; however, they were all well-known and influential child stars. -
Motion Picture Reviews (1939)
MOTION PICTURE REVI m WOMEN'S UIIIWMirmUB LOS ANGELES CALIE Vo l. XIII 1939 MOTION PICTURE REVIEWS JANUARY 19 3 9 CONTENTS A Christmas Carol The Dawn Patrol Exposed The Girl Downstairs Going Places Heart of the North His Exciting Night Kentucky Little Orphan Annie Little Tough Guys in Society Pacific Liner Paris Honeymoon Pygmalion Ride a Crooked Mile Secrets of a Nurse Sweethearts Swing That Cheer Thanks for Everything Tom Sawyer, Detective Trade Winds Zaza THE WOMEN'S UNIVERSITY CLUB LOS ANGELES CALIF ORNIA 10c Per Copy $1.00 a Year Digitized by the Internet Archive in 2016 with funding from Media History Digital Library https://archive.org/details/motionpicturerev00wome_8 — MOTION PICTURE REVIEWS Three MOTION * PICTURE * REVIEWS Published, monthly by THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN Mrs. Palmer Cook, General Co-Chairman Mrs. John Vruwink, General Co-Chairman Mrs. Chester A. Ommanney, Preview Chairman Mrs. Thomas B. Williamson, Assistant Preview Chairman Mrs. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California 10c Per Copy - - $1.00 Per Year Vol. XIII JANUARY, 1939 No. 1 Copyright 1938 by Women's University Club of Los Angeles FEATURE FILMS A CHRISTMAS CAROL O O THE DAWN PATROL O O Reginald Owen, Gene Lockhart, Kathleen Errol Flynn, David Niven, Basil Rathbone, Lockhart, Terry Kilburn, Barry Mackay, Donald Crisp, Melville Cooper, Barry Fitz- Lynne Carver, Leo G. -
Dorothy Farnum
Dorothy Farnum Also Known As: Mrs. Maurice Barber Lived: June 10, 1896 - January 1970 Worked as: adapter, film actress, scenario writer, screenwriter Worked In: France, United Kingdom: England, United States by Matthew Hipps As with many women in early cinema, such as Jeanie Macpherson and Frances Marion, Dorothy Farnum’s career in Hollywood began with acting before settling into writing. Known for her intelligence and beauty, she worked well in front of the camera. From articles in the Los Angeles Times, we know that she was educated in a convent boarding school (location unknown) where Farnum mastered French history and literature and became fluent in Spanish and German (C27, 33). Although she received several offers to act and even appeared in the films Over Night (1915) and The Cub (1915), she was reported to have instead preferred writing scenarios for the silent screen. Farnum’s scenario writing career began in 1919 when she approached producer Harry Rapf with an original scenario titled The Broken Melody. Impressed with her skills, he employed Farnum at a commission of twenty-five dollars a week. Unfortunately, after just two weeks Farnum proved to be too inexperienced and was released from her contract. Rapf promised to employ her once she attained a footing in the industry and refined her trade. Farnum continued to work for a few years, steadily writing adaptations and scenarios. Finally, as reported in the Los Angeles Times, Rapf rehired her in May 1926 and gave her work on what would become one of her most renowned films: Beau Brummel (1924) starring John Barrymore (C27).