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Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Rigby Star 1947 05 29 Vol 45 No 22
THE RIGBY STAR, RIGBY, IDAHO Thursday, May 29, 1947 letter continued, "I believe it would action might be deferred tempor for the present," Dworshak's letter it Richard Norris, another newcomer to ive until they visit a sleuthing ag // 1 ency to collect pay owed Huntz Hall, be justifiable and wise to lift sugar arily until a more accurate picture concluded. the screen, as Abie, promises to shoot of the sugar industry is available. to stardom. Twin Bill At who has just been fired off the invest rationing to housewives immediately. Swell Guy igating staff. This would make possible conserva President Truman says that if con- Others in the film are Michael "Although you have authority un trol of the nation can be kept out of Chekhov, J. M. Kerrigan, Vera Gor Others in the film are Betty Comp- tion and canning of fruits which will der the existing sugar statute to lift son, Bobby Jordan, Gabriel Dell, Billy soon be available throughout the the hands of greedy people, there will At Main Sunday don, George E. Stone, Emory Par- Main This Week price controls prior to October 31, it be no economic collapse. Does that nell, Art Baker, Bruce Merritt, Eric Hit songs of the west vie with spec Benedict and David Gorcey. country. Starring Sonny Tufts and Ann "While it may also be desirable to is apparent that retention of these mean that the government will have Blythe in one of the most unusual Blore and Harry Hays Morgan. tacular, rough-and-tumble action price controls should be maintained to run itself? stories ever filmed, "Swell Guy," pro scenes and hilarious comedy sequenc Idaho Senator Urges lift conrtols of industrial users, such duced by Mark Hellinger shows Sun es for the top honors in "Trail To day at the Main Theatre. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
American Moviemakers: Directed by Vincente Minnelli
American MovieMakers "AMERICAN MOVIEMAKERS: DIRECTED BY VINCENTE MINNELLI December 15, 1989 - January 28, 1990 All films directed by Vincente Minnelli, produced by MGM Studios, and Courtesy of Turner Entertainment, Co., except where otherwise noted. Cabin in the Sky, 1943. With Ethel Waters, Eddie "Rochester" Anderson, Lena Home, Louis Armstrong. 96 minutes. I Pood It, 1943. With Red Skelton, Eleanor Powell, Lena Home. 101 minutes. Meet Me in St. Louis, 1944. With Judy Garland, Margaret O'Brien, Mary Astor, Lucille Bremer. 113 minutes. The Clock, 1945. With Judy Garland, Robert Walker, James Gleason. 90 minutes. Yolanda and the Thief, 1945. With Fred Astaire, Lucille Bremer, Frank Morgan, Mildred Natwick. 110 minutes Ziegfeld Follies, 1944, released 1946. With Fred Astaire, Judy Garland, Gene Kelly, Lucille Bremer. 110 minutes Undercurrent, 1946. With Katharine Hepburn, Robert Taylor, Robert Mitchum. 116 minutes The Pirate, 1948. With Judy Garland, Gene Kelly, Walter Slezak, Gladys Cooper. 102 minutes Madame Bovary, 1949. With Jennifer Jones, James Mason, Van Heflin, Louis Jourdan. 115 minutes Father of the Bride, 1950. With Spencer Tracy, Joan Bennett, Elizabeth Taylor. 93 minutes Father's Little Dividend, 1951. With Spencer Tracy, Joan Bennett, Elizabeth Taylor. 82 minutes An American in Paris, 1951. With Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch, Georges Guetary. 113 minutes -more- The Museum of Modern Art - 2 - The Bad and the Beautiful, 1953. With Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Gloria Grahame, Gilbert Roland. 118 minutes The Story of Three Loves, 1953. "Mademoiselle" sequence. With Ethel Barrymore, Leslie Caron, Farley Granger, Ricky Nelson, Zsa Zsa Gabor. 122 minutes The Band Wagon, 1953. -
Bamcinématek Presents the Complete Vincente Minnelli, the First
BAMcinématek presents The Complete Vincente Minnelli, the first full New York retrospective of the Hollywood master in more than 20 years, Sep 23—Nov 2 (32 days, 35 films) 35mm prints. The Wall Street Journal is the BAMcinématek and BAM Rose Cinemas sponsor. Brooklyn, NY/Aug 30, 2011— Beginning September 23 and continuing through November 2, BAMcinématek presents The Complete Vincente Minnelli, the first full New York retrospective of the Hollywood master in more than two decades. This 35-film series pays homage to one of the all-time great Hollywood directors, with a career that included successful forays into the musical (which earned him his reputation at MGM), subversive and deeply personal melodramas and sensitive biopics, and airy comedies. The retrospective, presented in conjunction with the Locarno International Film Festival, offers a chance to reevaluate the Hollywood giant’s status as an auteur, truly one of cinema’s greatest artists. All films in The Complete Vincente Minnelli will be projected in 35mm, except for one which will be shown in 16mm. Popularly associated with meticulously decorated, nostalgic musicals like Meet Me in St. Louis (1944), An American in Paris (1951), The Band Wagon (1953), and the beloved Gigi (which swept the 1959 Oscars, winning in all nine categories that it was nominated including Best Picture and Best Director), Minnelli also proved to be a master of multiple genres over his 34-year directing career, including several darker dramas that were under- appreciated by his contemporaries. Minnelli was as poetically cynical as Billy Wilder in the Kirk Douglas and Lana Turner vehicle The Bad and the Beautiful (1952) and its follow-up, Two Weeks in Another Town (1960). -
Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958
Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958 Pamella R. Lach A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History Chapel Hill 2007 Approved by: Peter G. Filene John F. Kasson Robert C. Allen Jerma Jackson William Ferris ©2007 Pamella R. Lach ALL RIGHTS RESERVED ii Abstract Pamella R. Lach Dancing Dreams: Performing American Identities in Postwar Hollywood Musicals, 1944-1958 (Under the direction of Peter G. Filene) With the pressures of the dawning Cold War, postwar Americans struggled to find a balance between conformity and authentic individualism. Although musical motion pictures appeared conservative, seemingly touting traditional gender roles and championing American democratic values, song-and-dance numbers (spectacles) actually functioned as sites of release for filmmakers, actors, and moviegoers. Spectacles, which film censors and red- baiting politicians considered little more than harmless entertainment and indirect forms of expression, were the least regulated aspects of musicals. These scenes provided relatively safe spaces for actors to play with and defy, but also reify, social expectations. Spectacles were also sites of resistance for performers, who relied on their voices and bodies— sometimes at odds with each other—to reclaim power that was denied them either by social strictures or an oppressive studio system. Dancing Dreams is a series of case studies about the role of spectacle—literal dances but also spectacles of discourse, nostalgia, stardom, and race—in inspiring Americans to find forms of individual self-expression with the potential to challenge prevailing norms. -
FRED, El Bueno
DOSSIER FRED, el bueno COMPARTIÓ ESCENA CON SU HERMANA EN LA INFANCIA PERO EN SU JUVENTUD PROBÓ SUERTE 1 EN EL CINE. SE CONVIRTIÓ EN UN ÍCONO DE LA ELEGANCIA Y SUPO GANARSE EL APLAUSO DEL PÚBLICO MUNDIAL. MODESTO, ELEGANTE Y ALEGRE FUE EL SUEÑO DE HOLLYWOOD CUANDO TODAVÍA EL AMOR ESTABA DE MODA “Yo no hago el amor besando, hago el amor bailando” dijo, alguna vez, FRED ASTAIRE, el bailarín por antonomasia de Hollywood. Fue, además, actor, cantante y coreógrafo. Rodó 31 películas musicales, 10 de ellas acompañado por GINGER ROGERS, con quien conformó una pareja icónica y revolucionaria dentro del género. Fue nombrado “Mejor estrella masculina de todos los tiempos” por el American Film Institute, ganó un Oscar a la trayec- toria y hay consenso en que es uno de los bailarines más influyentes en la historia de los musicales de cine y televisión. Fue y es venerado por sus pares y celebrado como modelo de elegancia masculina, a pesar de no ser rigurosamente buen mozo. Sobre él, hablaron escritores, actores, músicos, periodistas y críticos de cine, moda y baile. Nació en la ciudad de Omaha, Nebraska, el 10 de mayo de 1899, y lo llamaron Frederick Austerlitz. La región es la de las Grandes Llanuras estadounidenses y, en un tiempo, se conoció con el eslogan turístico de “Where The West Begins” (Donde el Oeste comienza). En aquel contexto apacible, este hijo de una familia de sangres austríaca y alemana, dio sus primeros pasos en lo que sería la puerta al éxito internacional. Demostró su talento para (Der.) Con su hermana Adele cuando la danza desde la infancia, fascinando al público en muestras escolares, con apenas cuatro o aún bailaba con ella. -
Official File-Standard Songs
II Dr. K’s Song Stories A collection of popular Songs and how and/or why they were written. Table of Contents Preface - 2 Rodgers, Richard - 3 Oklahoma – 1943 - 4 Oh What a Beautiful Morning – 1943 - 5 People will Say We’re in Love – 1943 - 6 Surrey with the Fringe on Top – 1943 - 6 Carousel – 1945 - 6 You’ll Never Walk Alone – 1945 - 7 If I Loved You – 1945 - 7 Allegro – 1947 - 7 A Fella Needs a Girl – 1947 - 8 South Pacific – 1949 - 8 Some Enchanted Evening – 1949 - 8 Younger then Springtime – 1949 - 8 This Nearly was Mine – 1949 - 9 Bali Hai – 1949 - 9 Songs From Other Shows - 9 Manhattan – 1925 - 9 My Heart Stood Still – 1927 - 9 With a Song in My Heart – 1929 - 10 Dancing on the Ceiling - 1930 - 10 Blue Moon – 1934 -10 My Romance & The Most Beautiful Girl in the World – 1935 - 11 Easy to Remember – 1935 - 11 My Funny Valentine – 1937 -11 Where or When – 1937 - 11 I Married an Angel – 1938 - 11 Falling in Love with Love – 1938 - 11 I Could Write a Book – 1940 - 11 Thou Swell - 1943 - 11 It Might as Well be Spring – 1945 - 12 No Other Love – 1952 – 12 Edelwiess – 1959 – 12 There’s a Small Hotel – 1936 - 12 III Whiting, Richard - 13 Till We Meet Again – 1918 - 13 My Ideal – 1930 - 14 On the Good Ship Lollipop – 1934 - 14 Warren, Harry - 14 Lullaby of Broadway – 1934 - 15 I Got a Gal in Kalamazoo – 1937 - 16 September in the Rain – 1937 - 16 Jeepers, Creepers – 1938 - 16 Chattanooga Choo Choo – 1941 - 17 You’ll Never Know – 1943 - 17 That’s Amore – 1952 - 17 Arlen, Harold - 19 I Love a Parade – 1931 - 20 I’ve Got the World on a String -
Vidéo Patrick Schupp
Document generated on 09/27/2021 12:15 p.m. Séquences La revue de cinéma Vidéo Patrick Schupp Number 139, March 1989 URI: https://id.erudit.org/iderudit/50523ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Schupp, P. (1989). Review of [Vidéo]. Séquences, (139), 6–7. Tous droits réservés © La revue Séquences Inc., 1989 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ VIDEO VINCENTE MINNELLI Some Came Running, ou A Matter les danse éternellement. Ils sont Ziegfeld Follies (1946). Judy Buchanan. C'est différent de of Time, son dernier film, mais également ce que recherche le Garland, Lucille Ball, Fred Astaire, American, mais aussi bon dans son J'ai pensé que quelques tellement trituré au montage par des personnage mis en scène dans le Gene Kelly, Lucille Bremer, Lena genre. À chaque visionnement, on y commentaires sur l'un des plus producteurs ignares, que Minnelli a film. Vincente Minnelli s'est exprimé Horne, Fanny Brice, Cyd Charisse, découvre de nouvelles merveilles. grands artisans de la comédie désavoué le film. pleinement dans ce genre unique ou etc.. -
The Forgotten Click of American Toe-Tap, 1925 – 1935
University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 7-3-2012 Noisy Feet: The orF gotten Click of American Toe- Tap, 1925 — 1935 Sarah Helen Williams Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Williams, Sarah Helen. "Noisy Feet: The orF gotten Click of American Toe-Tap, 1925 — 1935." (2012). https://digitalrepository.unm.edu/thea_etds/8 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Sarah Helen Williams . Candidate Department of Theatre and Dance . Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Dr. Mary Anne Santos Newhall , Chairperson Dr. Judith Chazin-Bennahum . Vladimir Conde Reche . _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ i NOISY FEET: THE FORGOTTEN CLICK OF AMERICAN TOE-TAP, 1925 – 1935 BY SARAH HELEN WILLIAMS BACHELOR OF ARTS, DANCE AND FRENCH HOPE COLLEGE, MAY 5, 2009 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS THEATRE AND DANCE The University of New Mexico Albuquerque, New Mexico May, 2012 ii ACKNOWLEDGMENTS Writing this thesis on toe-tap has been a journey filled with discovery, excitement, humor, horror, and love. It has taken a village to raise this toe-tap child, and I have received nothing but generous support from those near and far.