CINE -12 Numéros 8 Fr

Total Page:16

File Type:pdf, Size:1020Kb

CINE -12 Numéros 8 Fr 62. Numéro de PAQUES 1920 (1 fr.). — SES- SUE HAYAKAWA. — <■ Mon Idéal mas- culin », par huit « stars » ; « Mon Idéal Pour les abonnements et féminin » par six « stars » ; Lars les demandes d'anciens numéros ABONNEMENTS : Hanson ; Henri Bosc ; Henri Roussell. France Etranger Pearl White et Douglas Fairbanks adresser correspondance <photos). — Où placer votre scénario ? 24 numéros 15 fr. 17 fr. et mandats à CINE -12 numéros 8 fr. 9 fr. 63. ANDREE BRABANT (biographie illustrée). 64. WILLIAM RUSSELL (biographie illustrée). — Comment on a tourné Le Béve. Pierre HENRY, directeur POUR PUBLICITE 65. MARY MILES MINTER (biographie illus- 92, rue de Richelieu, Paris (2") S'adresser : G. Ventillard & Cie trée). — Comment on a tourné man- chette. Téléphone : Louvre 46.49 TOUS 121-123, rue Montmartre, Paris 66. WILLIAM HART (comment il tourne ses Téléphone : Central 82-15 films). — Ce que gagnent les vedettes. paraît tous les jours, le vendredi 67. PEARL WHITE. — Article sur la Pro- 14 duction Triangle 1916-1917. 68. ANDRE NOX (biographie illustrée). — HUGUETTE DUFLOS (biogr. lllustr.). 69. MARGARITA FISHER (biogr. lllustr.). 70. ADRESSES INTERPRETES FRANÇAIS. — L'ACTIVITÉ CI NÉMATOGRAPHIQUE Edouard Mathé. — L'envers du cinéma. 71. ADRESSES INTERPRETES AMERICAINS. — SEVERIN-MARS. — Le marché Voici les principales productions clnégraphlque mondial. LES GRANDS FILMS Le Tombeau Indien, de J. May. 72. La revue des films de l'année 1921. — françaises, américaines, allemandes, GENEVIEVE FELIX. suédoises, italiennes, que les principa- COSMOGRAPH : 73. Ce qu'il faut savoir pour devenir inter- DE LA SAISON PROCHAINE prète de cinéma. — Adresses interprètes les maisons d'édition françaises se La femme de nulle part, par Louis Scandinaves, anglais, italiens, russes, proposent de présenter au public cet Delluc, avec Eve Francis, Roger Karl, allemands. hiver : Léon Poirier, avec Armand Tallier, Gine Avril, A. Daven, M. Duran. 74. CHARLIE CHAPLIN en Europe. — Peur Myrga et Roger Karl. devenir scénariste. —• MAY ALLISON. Nosferatu le Vampire. 75. DOUGLAS FAIRBANKS (biographie illus- L'Epreuve du Feu (Vem dômer ?) trée). LES GRANDS FILMS ARTISTIQUES : par Victor Sjôstrom, avec Jenny Has- 76. ALLA NAZIMOVA (au travail). 77. LE GOSSE (The Kid). — Pollyanna. Annie Moore ('Way down East), par selquist, Gôsta Ekman,' Ivan Hedquist PARAMOUNT : 78. MARCELLE PRADOT. — FERNAND D. W. Griffith, avec Lillian Gish, Ri- et Tore Svennberg. HERRMANN. — Comment on a tourné Humoresque, de Fannie Hurst, par chard Barthelmess, Lowell Sherman Les Emigrés, par Maurice Stiller, la Charrette Fantôme. Frank Borzage, avec Vera Gordon, 79. G. SIGNORET. — Comment on a tourné et Creighton Haie. avec Jenny Hasselquist, Lars Hanson Dore Davidson, Gaston Glass, Aima Les Trois Mousquetaires, en France et et Ivan Hedquist. en Amérique. Rubens. 80. JACKIE COOGAN (« Le Gosse »). — MAE Théodora, d'après Sardou, avec Ri- LES FILMS ERKA : Le Miracle, de F. L. Packard, par MARSH. — La cinématographle sous- ta Jolivet et R. Maupré. mariue. George Loane Tucker, avec Betty Les Deux Orphelines (Orphans of Chacun de ces numéros (sauf naturellement La Nef, de G. d'Annunzio, avec Ida Compson, Lon Chaney et Thomas les numéros 2. 4. 5, 6, 7, 13, 21, 22, 23, 24, 25. the Storm), par D.W. Griffith avec Lil- Rubinstein. Meighan. 26, 27, 29, 35 et 46, qui sont épuisés) peut lian et Dorothy Gish, Monte Blue, Jo- lire envoyé franco contre la somme de 0,50 Premier chagrin, avec Jackie Coo- (en timbres-poste, ou mandats) au nom de P. seph Schildkraut, Lucile Lnverne, Docteur Jekyll et Hyde, de R. L. e gan. Henry, 92, rue de Richelieu, Paris (11 ). Frank Puglia, etc. Stevenson, par J. Robertson, avec Nouvelle série ; envoi franco contre 0.75 : Olivier Twist, de Dickens, avec Ja- John Barrymore. 81. MUSIDORA. — Mary Johnson. — Le mer- ckie Coogan et Lon Chaney. L'Ile au Trésor, de R. L. Stevenson, veilleux à l'écran. — Un ménage de AUBERT : « stars » : Doug. et Mary. — Les o par Maurice Tourneur, avec Shirley grands films américains en 1921. — Les quatre caûaliers de l'Apoca- Mason, Charles Ogle et Lon Chaney. Résultats du concours des réalisateurs. PATHE-CONSORTIUM-CINEMA : 82. BLANCHE MONTEL. — Le mouvement au lypse, de V. Blasco-Ibanez, par Rex Les Opprimés, par Henry-Roussell, cinéma ; ses périls. — Jack Warren- Ingram, avec Rodolphe Valentino, La Roue, par Abel Gance, avec Sé- avec Raquel Meller. Kerrigan. — La prononciation des Alice Terry, Joseph Swickard, Alan noms des < stars >. verin-Mars, Ivy Close, Gabriel de Gra- 83. CH. DE ROCHEFORT. — FRANCE DHE- Haie, Stuart Holmes, etc. vonne et Térof. LIA. — WILLIAM FAVERSHAM. — En La Mare du Diable, d'après Georges quoi le cinéma est un art. — Conseils Eugénie Grandet, de H. de" Balzac, LES ARTISTES ASSOCIES : aux scénaristes débutants. par Rex Ingram, avec Rodolphe Va- Sand, par Pierre Caron, avec J.-Da- 84. CLAUDE MERELLE. — Comment on a lentino, Alice Terry et Ralph Lewis. vid Evremond, Simone Martin. Le Petit Lord Fauntleroy, de F. H. tourné L'Agonie des Aigles. — MAH- Le Sang d'Allah, par Luitz-Morat, Burnett, produit par Mary Pickford. LON HAMILTON. (« Papa-longues- La Dame aux Camélias, d'Alexan- jambes »). avec Gaston Modot et H. Rollan. dre Dumas fils, réalisé par R. Small- Robin des Bois, ou L'Esprit de Che- 37. DESDEMONA MAZZA.— Miss IVY CLOSE. 85. GEORGES LANNES ; PAULINE FREDE- Kœnigsmarck, de Pierre Benoit, par RICK (biographies Illustrées). valerie, produit par Douglas Fair- 38. BESSIE LOVE. — LARRY SEMON (Zigoto). wood, avec Alla Nazimova et Rodol- CINE 86. LEON MATHOT. — STEWART ROME. — Léonce Perret, avec Jaque-Catelain et banks, avec Sam dé Grasse, Wallace POUR TOUS publié ; 39. MARCELLE PRADOT. — CRE1GHT0N phe Valentino. JANE NOVA-K. — La Photogénie. Mary Marquet. Beery, Enid Bennett, etc. Réalisation HALE. — Qu'est-ce qu'une « étoile » 1 87. MAE MURRAY. — Trot» Interprètes de Roger-la-Honte, de Jules Mary, réa- 1. CHARLES CHAPLIN (biographie). 40. JAQUE-CATELAIN. — BESSIE BARRIS- Grlfflth : Carol Dempster, Ralph Gra- Le Portrait de Dorian Gray, d'Oscar d'Allan Dwan. 3. RUTH ROLAND. CALE. • ves et Charles E. Mack. — Le rôle de lisé par J. de Baroncelli, avec G. Si- Wilde, par E. Violet et Donatien. 8. HAROLD LOCKWOOD. — La revue des 42. MOLLIE KING. l'adaptateur. gnoret, Rita Jolivet, Maggy Thery, Salomé, produit par Alla Nazimova. 43. IRENE VERNON-CASTLE. — Comment on films édités en 1919. 88. MARY PICKFORD ; sa personnalité. — Eric Barclay, etc.. ETABLISSEMENTS G. PETIT : Maison de Poupée, d'après H. Ibsen, ». FLORENCE REED. forme des « vedettes ». Los Angeles, centre de la production 1». Le scénario illustré de la Sultane de l A- 44. WILLIAM HART. américaine. Anne dé Boleyn, par Ernest, Lu- produit par Alla Nazimova. 47. PRISCILLA DEAN. — GEORGES BEBAN. Sarati-le-Terrible, de Jean Vignaiid, mour. (Comment on a tourné ce film). 89. EMMY LYNN ; biographie illustrée. — bitsch, avec Emil Jannings et Henny 11. BRYANT WASHRURN. , -, , 48. SUZANNE GRANDAIS. réalisé par Louis Mercanton et Hervil, L'homme fait sur mesure (The Tai- Maurice Lagrenèe. — « La Vérité *, Porten. 12. PEARL WHITE (une visite à son studio). 49. OLIVE THOMAS. — Le Benjamin des scénario et « découpage ». — C. Gard- avec Henri Baudin, A. Ferramus, A. lor-made man), produit par Charles 14. RENE CRESTE. réalisateurs : PIERRE CARON. ner-Sulllvan. La Femme du Pharaon, par Ernest 18. CHARLIE CHAPLIN {comment il compose 50. EVE FRANCIS. Marchai, etc. Ray. 90. WALLACE REID ; sa personnalité. — Lubitsch, avec Emil Jannings et Dagny et réalise ses films). 51. Les meilleurs films de l'année 1920. Louise lluff. — Thomas H. INCE. — Les Hommes nouveaux, de Claude Le Clown, produit par Charles Cha- 16. MAX LINDER. 52, RENEE BJORLING. — ANDREW F. BRU- Anita Loos. Servaës. 17. VIVIAN MARTIN. NELLE. Farrère, par E. Violet et Donatien. plin. 18. CHARLES RAY. FATTY et ses partenaires. 91. Nathalie KOVANKO. — Francelia Bil- ■». EDNA PURVIANCE (la partenaire de MARCELLE PRADOT (photo). — CHAR- lington. — Ilobarl Bosworlh. — Eric La Dame de Monsoreau, d'Alexan- Tess, produit par Mary Pickford. Slroheim. — Grâce Darmond. — LE Charlie Chaplin). — D. W. GRIFFITH LES HUTCHISON. dre Dumas et A. Maquet, par R. Le Cauchemars et superstitions, pro- 18. JUNE CAPRICE. Numéro de NOËL 1920 (1 fr.). — LEON CINEMA RUSSE. AVIS 34. EDDIE POLO. — Léon Mathot dans 1 Ami MATHOT (photo) vingt pages iilus- 92. PEARL WHITE (biographie illustrée). — Somptier, avec Geneviève Félix. duit par Douglas Fairbanks. Fritz (photo). Gaston Modot. — Comment on a tour- Veuillez noter qu'ainsi que chaque 28. HOUDINI. — C. H. de Mille, le réalisateur 56. ULIAN GISH, RICHARD BARTHEL- né La Terre du Diable. O année, nous espaçons notre parution du- La Fleur d'amour, par D. W. Grif- de Forfaiture. MESS, DONALD CRISP. 93. Le personnage de CHARLOT. — Ivan Mos- GAUMONT : fith, avec Richard Barthelmers et Ca- 30. TEDDY. 57. MARY PICKFORD (au travail). joukine. — Robert Boudrioz. — Marion rant l'été de 3 semaines en 3 semaines. 31. DIANA KARENNE. — Nos grands films à 58. TOM MIX (biographie illustrée). Fairfax. — Ce qu'on reproche aux mau- Demandez donc : rol Dempster. l'étranger. 59. VIOLETTE JYL ; JUANITA HANSEN. vais films. DOJI Juan et Faust, par Marcel er Molly O., par Mack-Sennett, avec 32. BEBE DANIELS et HAROLD LLOYD. 60. WALLACE REID (biographie illustrée). — 94. JEAN DAX. — Marjorie Daw. — Charles L'Herbier, avec Jaque-Catelain, Van- N° 9G (11 août) ; n° 97 (1 septembre) 33. MABEL NORMAND. André Antoine. Burguct. — Ce qu'on aime dans les N° 98 (22 septembre) Mabel Normand. 34. MONROE SALISBURY. 61. FANNY WARD (biographie illustrée). — •bons filins. ni-Marcoux et Marcelle Pradot. Après quoi nous reprendrons notre pé- Suzanna, par Mack-Sennett, avec 36. Pho'to d'Andrew Brunelle. — Article sur Henri Roussell. — David Evremond. — 95. THOMAS MEIGHAN. — La revue illus- Jocelyn, d'après Lamartine, par' les dessins animés. Comment on a tourné les Trois Masques. trée des films de 1921-1922. riodicité habituelle. Mabel Normand. Ciné pour Tous 5 dans un drame intitu'ié On trial.
Recommended publications
  • 9781474451062 - Chapter 1.Pdf
    Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema
    [Show full text]
  • Bibliography Filmography
    Blanche Sewell Lived: October 27, 1898 - February 2, 1949 Worked as: editor, film cutter Worked In: United States by Kristen Hatch Blanche Sewell entered the ranks of negative cutters shortly after graduating from Inglewood High School in 1918. She assisted cutter Viola Lawrence on Man, Woman, Marriage (1921) and became a cutter in her own right at MGM in the early 1920s. She remained an editor there until her death in 1949. See also: Hettie Grey Baker, Anne Bauchens, Margaret Booth, Winifred Dunn, Katherine Hilliker, Viola Lawrence, Jane Loring, Irene Morra, Rose Smith Bibliography The bibliography for this essay is included in the “Cutting Women: Margaret Booth and Hollywood’s Pioneering Female Film Editors” overview essay. Filmography A. Archival Filmography: Extant Film Titles: 1. Blanche Sewell as Editor After Midnight. Dir. Monta Bell, sc.: Lorna Moon, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: Norma Shearer, Gwen Lee, si., b&w. Archive: Cinémathèque Française [FRC]. Man, Woman, and Sin. Dir. Monta Bell, sc.: Alice D. G. Miller, Monta Bell, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: John Gilbert, Jeanne Eagels, Gladys Brockwell, si., b&w. Archive: George Eastman Museum [USR]. Tell It to the Marines. Dir.: George Hill, sc.: E. Richard Schayer, ed.: Blanche Sewell (Metro- Goldwyn-Mayer Corp. US 1927) cas.: Lon Chaney, William Haines, si, b&w, 35mm. Archive: George Eastman Museum [USR], UCLA Film and Television Archive [USL]. The Cossacks. Dir.: George Hill, adp.: Frances Marion, ed.: Blanche Sewell (Metro-Goldwyn- Mayer Corp. US 1928) cas.: John Gilbert, Renée Adorée, si, b&w.
    [Show full text]
  • Cissy Fitzgerald
    Cissy Fitzgerald Also Known As: Marie Kathleen Cecilia Fitzgerald, Mrs. Oliver Mark Tucker, "The Girl with the Wink" Lived: February 1, 1873 - May 10, 1941 Worked as: dancer, film actress, film company owner, producer, theatre actress Worked In: United States by Maggie Hennefeld With a film career spanning over four decades—from a vaudeville dancer in an early Edison actuality and a silent comic film actress to an independent producer in the 1920s and a character actor in talkies in the 1930s— Cissy Fitzgerald experienced the vicissitudes of early film history. Born on February 1, 1873, christened Marie Kathleen Cecilia Fitzgerald, and educated in a British convent, Fitzgerald was already famous for her stage dancing and coquettish wink when she made her first screen appearance in 1896. Best known as “The Girl With the Wink,” Fitzgerald primarily worked in theater until her transition to comedic film acting in 1914. She appeared in multiple, trans-Atlantic runs of “The Gaiety Girl,” “The Foundling,” and “The Family.” Although she only appeared in one film role prior to 1914, an Edison Vitascope recording of her dance act in a Boston Keith-Albee show, her stage personality radiated cinematic qualities. From her saucy lingerie dancing to her gleefully incessant winking, Fitzgerald integrated bodily displays with the act of looking while most films were still shot in static, long-framed, proscenium views. When “she kicked herself” up from $50 to a $350 per week salary in her first American engagement, an unlabeled scrapbook clipping found in the Robinson Locke collection at the New York Public Library advertised Fitzgerald’s exciting range of allures: “Her dancing is distinguished for its seductiveness, its lingerie display, and its celebrated wink accompaniment.” Her first film appearance, as Charles Musser explains, was viewed as a supplement to her live stage performance (170).
    [Show full text]
  • Film Preservation Program Are "Cimarron,"
    "7 NO. 5 The Museum of Modern Art FOR RELEASE JANUARY 14 11 West 53 Street, New York, N.Y. 10019 Tel. 955-6100 Cable: Modernart EARLY FILMS TO BE REVIVED AT MUSEUM "The Virginian," Cecil B. DeMllle's 1914 classic, from the novel by Owen Wlster, with Dustin Famun who played in the stage version, will be shown as part of a series of eleven early films to be presented from January 14 through January 25, at The Museum of Modern Art. The Jesse Lasky production of "The Virginian" will be introduced by James Card, Curator of the George Eastman House Motion Picture Study Collection in Rochester, which is providing the films on the Museum program. At the eight o'clock, January 14 performance, Mr. Card will introduce the film and address himself to the controversy over the direction of "The Virginian," one of the early silent feature films. The fact that Cecil B. DeMille directed has been in dispute over the years. On the same program with "The Virginian," another vintage film will be shown. Tod Browning's "The Unknown" starring Lon Chaney. Made in 1927, it was an original story by the director, called "Alonzo, the Armless." According to The New York Times Film Reviews, a recently published compilation of the paper's film criticism, "the role ought to have satisfied Mr. Chaney's penchant for freakish characterizations for here he not only has to go about for hours with his arms strapped to his body, but when he rests behind bolted doors, one perceives that he has on his left hand a double thumb." Joan Crawford plays the female lead in the film, about which Roy Edwards writes in Sight and Sound, the characters and special effects add up to a "thorough display of grotesqueries." Other notable films that are part of this film preservation program are "Cimarron," starring Richard Dix and made in 1931 from Edna Ferber's popular novel; "Dr.
    [Show full text]
  • The Horror Film Series
    Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    SILVER SPRINGS: THE FLORIDA INTERIOR IN THE AMERICAN IMAGINATION By THOMAS R. BERSON A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Thomas R. Berson 2 To Mom and Dad Now you can finally tell everyone that your son is a doctor. 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my entire committee for their thoughtful comments, critiques, and overall consideration. The chair, Dr. Jack E. Davis, has earned my unending gratitude both for his patience and for putting me—and keeping me—on track toward a final product of which I can be proud. Many members of the faculty of the Department of History were very supportive throughout my time at the University of Florida. Also, this would have been a far less rewarding experience were it not for many of my colleagues and classmates in the graduate program. I also am indebted to the outstanding administrative staff of the Department of History for their tireless efforts in keeping me enrolled and on track. I thank all involved for the opportunity and for the ongoing support. The Ray and Mitchum families, the Cheatoms, Jim Buckner, David Cook, and Tim Hollis all graciously gave of their time and hospitality to help me with this work, as did the DeBary family at the Marion County Museum of History and Scott Mitchell at the Silver River Museum and Environmental Center. David Breslauer has my gratitude for providing a copy of his book.
    [Show full text]
  • The Silent Film Project
    The Silent Film Project Films that have completed scanning – Significant titles in bold: May 1, 2018 TITLE YEAR STUDIO DIRECTOR STAR 1. [1934 Walt Disney Promo] 1934 Disney 2. 13 Washington Square 1928 Universal Melville W. Brown Alice Joyce 3. Adventures of Bill and [1921] Pathegram Robert N. Bradbury Bob Steele Bob, The (Skunk, The) 4. African Dreams [1922] 5. After the Storm (Poetic [1935] William Pizor Edgar Guest, Gems) Al Shayne 6. Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The 7. Aladdin And The 1917 Fox Film C. M. Franklin Francis Wonderful Lamp Carpenter 8. Alexandria 1921 Burton Holmes Burton Holmes 9. An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest 10. Animals of the Cat Tribe 1932 Eastman Teaching 11. Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales 12. Aryan, The 1916 Triangle William S. Hart William S. Hart 13. At First Sight 1924 Hal Roach J A. Howe Charley Chase 14. Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee 15. Autumn (nature film) 1922 16. Babies Prohibited 1913 Thanhouser Lila Chester 17. Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri 18. Barnyard Cavalier 1922 Christie Bobby Vernon 19. Barnyard Wedding [1920] Hal Roach 20. Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel 21. A Beast at Bay 1912 Biograph D.W. Griffith Mary Pickford 22. Bebe Daniels & Ben Lyon 1931- Bebe Daniels, home movies 1935 Ben Lyon 23. Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean 24.
    [Show full text]
  • Hooray for Hollywood!
    Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing.
    [Show full text]
  • Ademy Arrow Academy a Ow Academy Arrow Academy
    ARROW ACADEMY ARROW1 ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY 1 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CONTENTS 5 Cast and Crew ARROW ACADEMY ARROW ACADEMY7 Larger ARROWThan Life: Revisiting Man ACADEMY of a Thousand Faces by Vic Pratt 23 Original Reviews ARROW ACADEMY ARROW ACADEMY30 About the Restoration ARROW ACADEMY 2 3 ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY CAST James Cagney Lon Chaney Dorothy Malone Cleva Creighton Chaney Jane Greer Hazel Bennet Chaney Marjorie Rambeau Gert Jim Backus Clarence Locan Robert Evans Irving Thalberg Celia Lovsky Mrs Chaney Jeanne Cagney Carrie Chaney Jack Albertson Dr. J. Wilson Shields Nolan Leary Pa Chaney Simon Scott Carl Hastings Clarence Kolb Himself Danny Beck Max Dill Philip Van Zandt George Loane Tucker CREW Directed by Joseph Pevney Written by Ralph Wheelright, R. Wright Campbell, Ivan Goff, Ben Roberts Produced by Robert Arthur Edited by Ted J. Kent Director of Photography Russell Metty ARROW ACADEMY ARROW ACADEMY ARROW ACADEMY Music by Frank Skinner Art Directors Alexander Golitzen, Eric Orborn Set Decorators Russell A. Gausman, Julia Heron Unit Manager
    [Show full text]
  • 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 .
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]