{TEXTBOOK} Eternally Yours
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Clothing! Model Dresden
T r WHAT THE PRESS AGENTS SA Y Bringing Up Father By McManus DADDY' I JUST LEFT STOLEN-EH? BIG DOUBItE FEATURE “THK ROAD TO RENO” TWESRCHOOKSl ME DAUGHTER well, don't <&urrB«Ky PROGRAM AT FOX-POL1 SCORES MY CAR IN FRONT OF 1~ET ME TAKE catV | HIT AT WARNER ARE COIN' WU1 OKlLV AWAY WORRY-THESE PALACE THEATER BROS’ STATE THEATER THE HOUSE FOR A Your car- TOOl KJOW THEV HAVE o PROM HER CAR THIEVE*) CAN'T M'MUTE AMO WHEM I I’LU REPORT FAR* ‘5TOLHM THE CAR The Fox-Poll Palace theater Patrons o< Warner .Brothers' A MINUTE-AH' err away with CAME BACK THE THIS TO THE pliers a bis double feature pro- State theater are being treated to ^ ZlHCO'. ONE or THI% STUFF SPARE-TIRE WAS POLICE- gram to-day, Friday and Saturday, an exceptionally fine screen feature | THE TIRES V/OZ WHILE I'M POME- J the leading feature "Bad Com- In "The Road to Reno," playing a -\ STOUEN- CHIEF; or with Helen Twelvetrees. 1>any" three day engagement there which V POLICE- The star, the villain and the di- ends tomorrow night. r rector of that enjoyable motion "The Road to Reno” is a story of picture, "Her Man," have been scrambled—and unscrambled lives brought together In "Bad Com- with a sturdy thread of romance pany,” an KKO Pathe production, carrying on through all the hectic which opened to-day at the Pal- action of the production. ace theater. The picture gives more than a "Bad Company” brings a new glimpse at this city where marital note Into the entertainment Held knots are dissolved in the fluent with an up-to-the-minute story, suds of court-room authority. -
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). -
Colcoa-Press-2019-Part IV
September 19, 2019 COLCOA French Film Festival Monday, September 23 – Saturday, September 28 DGA in Hollywood $$ This film festival showcases the latest work from France. It only looks like it the Coca Cola Film Festival if you read it too fast. September 3, 2019 Critic's Picks: A September To-Do List for Film Buffs in L.A Alain Delon in 'Purple Moon' (1960) A classic lesbian drama, French noirs starring Alain Delon and Jean Gabin and a series of matinees devoted to Katharine Hepburn are among the plentiful vintage and classic options for SoCal film buffs this month. OLIVIA AT THE LAEMMLE ROYAL | 11523 Santa Monica Blvd. Already underway and screening daily through Sept. 5 at the Laemmle Royal is a new digital restoration of Jacqueline Audry’s trailblazing 1951 feature Olivia, one of the first films, French or otherwise, to deal with female homosexuality. Set in a 19th-century Parisian finishing school for girls, the film depicts the struggle between two head mistresses (Edwige Feuillere and Simone Simon) for the affection of their students, and how one girl’s (Marie-Claire Olivia) romantic urges stir jealousy in the house. Audry, one of the key female filmmakers of post-World War II France, stages this feverish chamber drama (based on a novel by the English writer Dorothy Bussy) with a delicate yet incisive touch, allowing the story’s implicit sensuality to simmer ominously without boiling over into undue hysterics. Lesbian dramas would soon become more explicit, but few have matched Olivia’s unique combination of elegance and eroticism. FRENCH FILM NOIR AND KATHARINE HEPBURN MATINEES AT THE AERO | 1328 Montana Ave. -
Dancing Lady Robert Z. Leonard M-G-M USA 1933 16Mm 5/6/1972
Listed Screening Season Title Director Studio Country Year Format runtime Date Notes Dancing Lady Robert Z. Leonard M-G-M USA 1933 16mm 5/6/1972 The first screening ever! 11/25/1972 Per Trib article from 11/23/1972, "our meeting this Saturday will be our last until after the Holidays" Go Into Your Dance Archie Mayo Warner Bros. USA 1935 16mm 1/18/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Sunny Side Up David Butler Fox Film Corp. USA 1929 16mm 1/25/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Shall We Dance Mark Sandrich RKO USA 1937 16mm 2/1/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 You'll Never Get Rich Sidney Lanfield Columbia USA 1941 16mm 2/8/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for A Night at the Opera Stand-In Tay Garnett United Artists USA 1937 16mm 2/15/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 - subbed in for No Man Of Her Own Now And Forever Henry Hathaway Paramount USA 1934 16mm 2/22/1975 per Chuck Schaden's Nostalgia Newsletter 2/1975 Spy Smasher Returns William Witney Republic USA 1942 16mm 3/1/1975 per Chuck Schaden's Nostalgia Newsletter 3/1975 - subbed in for Sing You Sinners White Woman Stuart Walker Paramount USA 1933 16mm 3/8/1975 per Chuck Schaden's Nostalgia Newsletter 1/1975 Broadway Gondolier Lloyd Bacon Warner Bros. USA 1935 16mm 3/15/1975 per Chuck Schaden's Nostalgia Newsletter 4/1975 Argentine Nights Albert S. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
1947-10-03, [P ]
o Friday, October 3, 1347 TOLEDO UNION JOURNAL Page Fivf Action-Packed Film Will Star Alan Ladd, Lamour Film action at its Alan Ladd best was flashed on the screen Two Actresses Woore, Eighteen, Wins Jack Benny Returns On of the Paramount Theatre with Ladd’s newest Paramount picture, “Wild Harvest,” in which he shares starring honors with Dorothy Thinking It hum Hde At Soiumhia October 5 \\ ilh Same Gang Lamour, Robert Preston and Lloyd Nolan. With nary a ’ dull moment from start to finish, it is exciting enough to satisfy the The most eagerly sought-after Fall officially arrives for the 30.000.000 Jack Benny fans or most thrill-hungry fans. L role of the season was handed Sunday, October 5, because that’s the day when the Waukegan The setting is the novel one of Through yesterday by Columbia to an Wit returns to the air over NBC for the new season. “Two-Tone” Totter For his record-breaking 16th consecutive year on the air, America’s great wheat country by Pau! Slfton eighteen-year-old Glendale high the comedian will return with the same cast that has helped to there giant combine crews school graduate, Terry Moore, Cattle each other and the ele- LPA Columnist keep the Jack Benny program' This is it. The showdown is who will appear opposite Glenn on top in radio. The “regulars,” merits for the profitable job of Ford in the Technicolor comedy, Susan Peters’ Son harvesting the vast fields of here. include Mary Livingstone, Phil ■w “The Return of October.” Miss Harris, Pvochester, Dennis Day Makes Film Dehut golden grain. -
Faq 53 (8/30/07)
299 FAQ 53 (8/30/07) 53.1 Q: I recently viewed CBS’s television show, BLACK DAHLIA CONFIDENTIAL , and they showed an old 16mm film clip of a bunch of young women riding in a convertible and it said one of them might be Elizabeth Short. Was it really her? The clip first surfaced during the preparation of an NBC DATELINE show on my investigation. that aired in 2003. Producers of that show found the 1945 footage while doing their own historical research on the Black Dahlia Murder. If it is Elizabeth Short, it is likely the only film footage of her in existence. Personally, I think there is a strong possibility that the footage IS ELIZABETH. My opinion is not based solely on the striking physical resemblance, but also takes into account other important facts: They include: 1) Date/Time/Location- The film footage was reportedly taken on VJ-DAY, (or the day after), August 15, 1945. Six or seven young women are seen riding in an open convertible down Hollywood Blvd. A sailor runs up and kisses several of the women, including the dark haired woman, believed by many to be, Elizabeth Short. My research has resulted in documentation placing Elizabeth in Southern California in the following years: 1942, 1943, 1944, and 1946. In addition, witnesses place her in Hollywood in the summer months of: 1944 & 1946. DA files provide no specific location for Elizabeth Short during the summer months of 1945 and only indicate that, “she was in Florida during the winter months of 1945.” (This wording would seem to suggest she was somewhere else earlier in the year, which allows for the real possibility she could have been in L.A. -
Screen Directors' Playhouse
screen_directors.qxd:8 Page Booklet 9/20/10 1:59 PM Page 1 Full Hour Programs SCREEN DIRECTORS’ PLAYHOUSE CD 7: “My Favorite Wife” - 12/07/50 Cary Grant and Irene Dunne star in this screwball comedy about a Program Guide by Elizabeth McLeod man on the verge of marriage — who is stunned when his missing first wife suddenly reappears. Producer Leo McCarey introduces In these days of Netflix and video-on-demand, it’s hard to imagine a time when movies were this radio adaptation of the 1940 film. something you rarely had the chance to see once they left the theater. In the days before Hollywood came to terms with television, classic films were rarely reissued. For many years, radio played an CD 8: “The Lady Gambles” - 12/14/50 important role in filling that niche — with broadcast adaptations of top films helping to keep the big- This sobering, issue-oriented drama exploring the progressive screen memories alive. One of the most outstanding series of film adaptations to grace the postwar degradation of a woman’s life by addictive gambling stars Barbara era was NBC’s Screen Directors’ Playhouse. Stanwyck, William Conrad and John Dehner. Director Michael Gordon introduces this radio adaptation of the 1949 film. Film adaptations on radio had a long tradition. As early as the mid-1920’s, adaptations of silent films were heard over New York station WHN, as part of the long-running MGM Movie Club series, and CD 9: “A Foreign Affair” - 03/01/51 over KFWB in Hollywood, owned by Warner Brothers. -
Alumni History and Hall of Fame Project
Los Angeles Unified School District Alumni History and Hall of Fame Project Los Angeles Unified School District Alumni History and Hall of Fame Project Written and Edited by Bob and Sandy Collins All publication, duplication and distribution rights are donated to the Los Angeles Unified School District by the authors First Edition August 2016 Published in the United States i Alumni History and Hall of Fame Project Founding Committee and Contributors Sincere appreciation is extended to Ray Cortines, former LAUSD Superintendent of Schools, Michelle King, LAUSD Superintendent, and Nicole Elam, Chief of Staff for their ongoing support of this project. Appreciation is extended to the following members of the Founding Committee of the Alumni History and Hall of Fame Project for their expertise, insight and support. Jacob Aguilar, Roosevelt High School, Alumni Association Bob Collins, Chief Instructional Officer, Secondary, LAUSD (Retired) Sandy Collins, Principal, Columbus Middle School (Retired) Art Duardo, Principal, El Sereno Middle School (Retired) Nicole Elam, Chief of Staff Grant Francis, Venice High School (Retired) Shannon Haber, Director of Communication and Media Relations, LAUSD Bud Jacobs, Director, LAUSD High Schools and Principal, Venice High School (Retired) Michelle King, Superintendent Joyce Kleifeld, Los Angeles High School, Alumni Association, Harrison Trust Cynthia Lim, LAUSD, Director of Assessment Robin Lithgow, Theater Arts Advisor, LAUSD (Retired) Ellen Morgan, Public Information Officer Kenn Phillips, Business Community Carl J. Piper, LAUSD Legal Department Rory Pullens, Executive Director, LAUSD Arts Education Branch Belinda Stith, LAUSD Legal Department Tony White, Visual and Performing Arts Coordinator, LAUSD Beyond the Bell Branch Appreciation is also extended to the following schools, principals, assistant principals, staffs and alumni organizations for their support and contributions to this project. -
Influenced by German Expressionism and Old World Ennui, Hollywood Directors—Many of Them European Émigrés—Created the Look
Shadowland Influenced by German Expressionism and Old World ennui, Hollywood directors—many of them European émigrés—created the look and feel of film noir to express the fears and desperation of postwar America. It’s a genre that never dies—though its heroes often do. MANHUNT: (opposite) Carol Reed (right) guides Orson Welles through the sewers of Vienna in The Third Man (1949), shot both on location and at Shepperton Studios after Welles objected to the unsanitary conditions underground. Because of his frequent use of Dutch angles, the crew gave Reed a spirit level at the end of filming. (above) Robert Wise, directing Robert Ryan and Audrey Totter, scouted “crummy” boxing arenas around Los Angeles to watch the actions and activities of fighters and their handlers forThe Set-Up (1949). 48 dga quarterly PHOTOS: (LEFT) RKO/THE KOBAL COLLECTION; (ABOVE) AMPAS dga quarterly 49 BAD TO THE BONE: Although Barbara Stanwyck was at first reluctant to take the role of a NIGHT CRAWLERS: Alexander Mackendrick works with Burt Lancaster and Tony ruthless killer in Double Indemnity (1944), director Billy Wilder said “she was as good an actress Curtis on Sweet Smell of Success (1957). Mackendrick smeared a thin layer of as I have ever worked with. We rehearsed the way I usually do. Hard. There were no retakes.” Vaseline on Lancaster’s glasses so he couldn’t focus and would have a blank stare, and shot him from low angles to make him appear more menacing. TOUGH LUCK: Raoul Walsh, with Ann Sheridan and George Raft, filmed ILL-FATED: Jacques Tourneur applied what he had learned about creating HATE CRIME: Edward Dmytryk (second from left, in jacket) directs Robert CHASING THE BIRD: Walter Huston (left) made an uncredited cameo as a good- They Drive by Night (1940) in sequence to allow for the development of the atmosphere from working with producer Val Lewton on B horror films toOut of Young, Jacqueline White, and Robert Mitchum in Crossfire (1947).