Hollywood Stars and Their Service in the Marine Corps
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Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Mustang Daily, April 15, 1970
. '• ohlvpc Kennedy vows EOP support by FRANK ALDERETE of. the Mexican American; rTrviouHiyIKuaHAUAUi •kAutMDoui me only--- s— way— —a in 196*70 kicked te Staff Wrttar monetary and educational x person- could get himself Into a MO,000. SAC State students gave Noting that “success of the deprivations In the case of other college was to excell In athletics. $90,000 which enabled 07 more program la related to financial minorities such as Afro- "But now, Kennedy said, "we students to enroll In classes, support,Prei. Robert E. American and American Indian. can admit 2 per cent of minority Kennedy said that "he would Kennedy announced h^ ad The ability of an Individual to „ groups Into our campus. Now like to see the EOP program vocacy for the support of the rise up out of the ghetto quagmire they have a chance." expand." but that he would Economic Opportunity Program and to make himself a success is Tomorrow students will vote In rather see "a good program for a In an Interview yeeterday. a problem that has faced the a special election to determine few students than a mediocre one The problem of a lack of underprlvillged for years. whether or not ASI funds could be for a lot." motivation of an Individual Kennedy said that the "EOP used to support the EOP. Kennedy said that the program toward echolaetlc achievement la offers a minority lndivudual the Currently eight state colleges use oould and should utilise any funds ceueed by aeveral reasons— chance to make himself good and ASI funds to support their It could get. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Hanks, Spielberg Tops in U.S. Army Europe Hollywood Poll
Hanks, Spielberg tops in U.S. Army Europe Hollywood poll June 8, 2011 By U.S. Army Europe Public Affairs HEIDELBERG, Germany -- “Band of Brothers” narrowly edged “Saving Private Ryan” in a two-week U.S. Army Europe Web poll asking the public to select their five favorite Related Links films portraying U.S. Soldiers in Europe. Poll Results The final tally for the top spot was 128 votes to 126, revealing the powerful appeal Tom U.S. Army Europe Facebook Hanks and Steven Spielberg hold among poll participants in detailing the experiences of U.S. Army Europe Twitter WWII veterans. U.S. Army Europe YouTube The two movies were both the result of collaborations by the Hollywood A-listers. U.S. Army Europe Flickr Rounding out the top five was “The Longest Day,” a 1962 drama starring John Wayne about the events of D-Day; “Patton,” directed by Francis Ford Coppola in 1970 and starring George C. Scott as the famed American general; and “A Bridge Too Far,” a 1977 film starring Sean Connery about the failed Operation Market- Garden. The poll received a total of 814 votes and was based on the realism, entertainment value and overall quality of 20 movies featuring the U.S. Army in Europe. Some of Hollywood's biggest stars throughout history - Elvis, Clint Eastwood, Gary Cooper, Bill Murray, Gene Hackman – have all taken turns on the big screen portraying U.S. Soldiers in Europe. But to participants of the U.S. Army Europe poll, it was the lesser-known “Band of Brothers” in Easy Company who were most endearing. -
Cecil B. Demille's Greatest Authenticity Lapse?
Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
A Biography of Gary Cooper Pdf, Epub, Ebook
THE LAST HERO : A BIOGRAPHY OF GARY COOPER PDF, EPUB, EBOOK Larry Swindell | 394 pages | 16 Dec 2016 | Echo Point Books & Media | 9781626545649 | English | none The Last Hero : A Biography of Gary Cooper PDF Book Cooper was one of the top money-making movie stars of all time. It didn't take long for Cooper to realize that stunt work was challenging and risky. The sport-loving family often went on vacations together, taking frequent trips to Europe. The screen icon learned that some friends of his from Montana were working as extras, and Cooper wanted a piece of the action. He was a three-time Academy Award winner in , and All of these were subsequently played by John Wayne. I called Robert Taylor. His brother Arthur Cooper died in May , at the age of Cooper has undoubtedly left his mark on American culture — besides his Old West good guy persona, he's actually the reason why any male today has the first name "Gary. His wife explained, "Gary loved Southampton. O'Doul certainly aimed some harsh criticism at Cooper, saying, "You throw a ball like an old woman tossing a hot biscuit. I've been coasting along. He worked for five dollars per day as an extra, but that was only to fund an art course he wanted to enroll in. He started to attend Catholic Mass more regularly with his wife and daughter and felt moved spiritually. One Hemingway scholar maintained Papa was profoundly impressed that Cooper was such a stud. While Hemingway was a voracious reader and novelist, Cooper barely picked up a book unless it was a movie script. -
FILMS and THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2
FILMS AND THEIR STARS 1. CK: OW Citizen Kane: Orson Welles 2. TGTBATU: CE The Good, the Bad and the Ugly: Clint Eastwood 3. RFTS: KM Reach for the Sky: Kenneth More 4. FG; TH Forest Gump: Tom Hanks 5. TGE: SM/CB The Great Escape: Steve McQueen and Charles Bronson ( OK. I got it wrong!) 6. TS: PN/RR The Sting: Paul Newman and Robert Redford 7. GWTW: VL Gone with the Wind: Vivien Leigh 8. MOTOE: PU Murder on the Orient Express; Peter Ustinov (but it wasn’t it was Albert Finney! DOTN would be correct) 9. D: TH/HS/KB Dunkirk: Tom Hardy, Harry Styles, Kenneth Branagh 10. HN: GC High Noon: Gary Cooper 11. TS: JN The Shining: Jack Nicholson 12. G: BK Gandhi: Ben Kingsley 13. A: NK/HJ Australia: Nicole Kidman, Hugh Jackman 14. OGP: HF On Golden Pond: Henry Fonda 15. TDD: LM/CB/TS The Dirty Dozen: Lee Marvin, Charles Bronson, Telly Savalas 16. A: MC Alfie: Michael Caine 17. TDH: RDN The Deer Hunter: Robert De Niro 18. GWCTD: ST/SP Guess who’s coming to Dinner: Spencer Tracy, Sidney Poitier 19. TKS: CF The King’s Speech: Colin Firth 20. LOA: POT/OS Lawrence of Arabia: Peter O’Toole, Omar Shariff 21. C: ET/RB Cleopatra: Elizabeth Taylor, Richard Burton 22. MC: JV/DH Midnight Cowboy: Jon Voight, Dustin Hoffman 23. P: AP/JL Psycho: Anthony Perkins, Janet Leigh 24. TG: JW True Grit: John Wayne 25. TEHL: DS The Eagle has landed: Donald Sutherland. 26. SLIH: MM Some like it Hot: Marilyn Monroe 27. -
Alternate PDF Version
gyxegsxq2ri2yvh2yp2ihqe2sgi2f y qr pive2hedes2of2humEhums3 As the summer of 2005 rolls around, we have two more Burroughs conventions on the docket, one in Chicago and one in Toronto. Information flyers are included with this issue, so we hope you can fit one or both of these events into your schedule. Meanwhile, here are some recollections by our President, Bob Hyde, on how the Dum-Dums started. This memoir was first published at the 1991 Dum- Dum in Chicago, but since some of you were not there, we publish it again. Cheers! ... “Ye Editor” GENESIS OF THE BURROUGHS BIBLIOPHILES By Bob Hyde In the beginning . Vernell Coriell started publishing THE BURROUGHS BULLETIN in 1947, and sent free copies to anyone who asked. Soon after this, he was asked to form a Burroughs fan club, and this became a topic of discussion with various fans he met in his travels over the next two years. When Vern was in California in 1949, he obtained permission from ERB, Inc. to form a fan club and to call it THE BURROUGHS BIBLIOPHILES, but not to have any official connection with ERB, Inc. It was still a matter of discussion at the 1959 WORLD SCIENCE FICTION CONVENTION in Detroit where our Pittsburgh S-F group won the election to hold the 18th (1960) World Con in Pittsburgh. This 1960 event got us off on a firm footing. Since I was a member of the Convention Committee, Vern asked me to set up an organizational meeting for him at the convention. We figured this would be the logical place where a larger group of ERB fans would be gathered. -
5 Toau) Secret Talks a Possibility
r FRIDAY, JULY 14, 1972 PAGlfi TW5!NTY;F0UR > iiattrtfPBtpr iEttming l|?ralb At the Center The Weather Coventry With Glenti Gamher Fair arid humid tonight, lows In the 70s with a 20 per cent iPage 5 lEupnt« 5 to a U ) chance of rain. Hazy and humid, a chance of showers Sunday, Tax Deadline Aug. 1 Manchester— A City of Village Charm high 95. Gardening Tax Collector 'Audrey Bray ting by Qreg Locke, Curt Le VOL. XCI, NO. 243 (FOURTEEN PAGES— TV SECTION) ts reminding Coventry residents Doyt smd Dwayne Beagla. MANCHESTER, CONN., SATURDAY, JULY 15, 1972 (Classified Advertising on Page 11) PRICE FIFTEEN CENTS and property owners that tsuc- Other members of the Coven- es on the Grand List of Octo- try All-Stars are Dave Blwell, ber 1, 1971 are due and payable Ken Qoodale, Kevin Qraen, l^u prior to August 1. , LaBrec, ^Lee Martin, A1 i Frank Atwood Payments may be made dm Nominees Open either at her office In the Town Tomanelll, Sm U W^*®ce, Bill ■'What Is the of the automatic controls, twice a day. Mr. Devanney points out, Is Hall or by mall. In which case Seatim pretty flowers?" summer; If the winter basically residential, which Is these wishing a receipt should ^ become elec- ' r / " sun Is unusually bright, the his reason for not putting up a enclose a stamped, self-address- PP i„ the ReaU Secret Talks This Is a quesUon asked many ^^tered three Umes sign. It Is a reason also for the ed envelope with their payment. of M l Campaign Race times a day at the checkout a day. -
Film Program
/o^ Ihe Museum of Modern Art vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 103 Thiirsday, August I8, 1966 FOR imSDflM:^ BELCA3E FILM PRfXaRAM September 1-50, 1966 Series Days Hoiirs, unless otherwise noted (T) THE THIRTIES: U.S.A. Sundays 2:00 Ss 5:30 p.m. Part I: 1930-1955 Mondays 2:00 & 5:30 p.m. (through September 30) Tuesdays 2:00 & 5:30 p.m. Thursdays 2:00, 5:30 & 8:00 p.m. Fridays 2:00 & 5:30 Saturdays 11:30 a.m., 3:00 & 5:30 p.m. (W) WEDNESDAYS AT NOON (continuing) Wednesdays 12:00 noon (A) Fn^ FROM THE ARCHIVE(continuing)Wedne8days 2:00 & 5:30 p.m. Thurs. Sept. 1- (T) DaC3K SOUP (1933); directed by Leo McCarey, with the Marx Broth Fri. Sept. 2 ers and Miargaret Dumont. 70 min. Sat. Sept. 3 - (T) ROMAN SCANDALS (1933)> directed by Frank Tuttle, with Eddie Sun. Sept. k Cantor, Ruth Etting, Gloria Stijart. Distributed by Brandon Films, Inc. 92 min. Mon. Sept. 5 - (T) DAVID HARUM (l93^)/ directed by James Cruze, with Louise Tues. Sept. 6 Dresser, Will Rogers, Evelyn Venable. 85 min. Wed. Sept. T **(w) *ANAEMIC (ymmk (1926), by Marcel Duchamp. 7 min. LE MDNDE DE PAUL DELVAUX (l9^), directed by Henri Storck.lOmin. MAGRUTE - THE OBJECT LESSON (I965), produced and directed by Luc de Heusch. English narration by Alan Schmer. 15 min. ALBERTO GIACOMEITI (1966), produced by Sumner Glimcher, directed by S. Chasmar, music by Arnold Ganson. 15 min. (A) BILDDOKUMENTE (1935). A compilation of German newsreels from 1912 to 1918 edited by Frank Hensel during the Nazi regime, if5 min. -
2007 Scms 2007
2007 SCMS CONFERENCE PROGRAM and SCREENING SYNOPSES MARCH 8–11 • HILTON CHICAGO SOCIETY FOR CINEMA AND MEDIA STUDIES SOCIETY 2007 SCMS CONFERENCE PROGRAM and SCREENING SYNOPSES MARCH 8–11 • HILTON CHICAGO CHICAGO Letter from the SCMS President Welcome to Chicago! Our conference this year is another very large gathering of film scholars from around the world. Our conferences have continued to grow in size each year, and this year is no exception. We received 877 proposals, compared with 845 last year and 708 the year before for London. By far, our biggest category this year was the Open Call submissions, which suggests that we are seeing an influx of new members trying out the conference for a first time. But you will also find many familiar faces and names among the attendees, and our roster of program topics fully reflects the diverse nature of moving picture media in today’s world. One of my priorities as President has been to encourage the diversification of program topics at our conferences in ways that are reflective of our organization’s dual function name—cinema and media. Seeing this occur over the past few years has been enormously pleasurable for me. I believe that our confer- ences are more exciting intellectually than they have ever been, and the wealth of topics addressed by papers and panels—cinema, television, radio, video games, media policy, global economy, and so on—demonstrates the continuing vitality of our field. This opening up of focus is far from being a symptom of centerlessness or confused identities—instead, it demonstrates how our field and its scholars are keeping pace with rapid changes in the world of moving image media.