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Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
The Chimp That Talks
=> C v— innrsf 1 » 3 S-S.15 85^, !» a jl ™ a ™ zr < 1 2*Stiff if 3 8.-S O 5 I.ii1 ■sflt "•"p If'lfSRP?rpJRIf •< J§ ?<» e ?£*>& I —■» CO ij sff «##£mimm it IIIfill <T> a fill l r AT E NE s* IEW WITH MOVIES ft SPORTS FOR THE COMING WEEK Video Everyday — All Rights Reserved — Dickinson Newspaper Services, THE CHIMP THAT TALKS Washoe is a chimp who talks — with her hands. And you can meet her for the first time on television on "The First Signs Of Washoe" on NOVA this Sunday night at 7:30 p.m. on Channel 23. Saturday, January _25,_ 1975 Washoe has a vocabulary of over 150 words and she uses it with 9.30 AM a frankness that might not make a (50) "Invisible Stripes" sailor blush, but she certainly does Humphrey Bogart, William communicate! She'll let you know Holden. (1939) Story of an just exactly what she thinks about ex con who tries to go straight. something — or you. Washoe was "brought up" by 12:00 NOON Prof. Allen Gardner and Dr. Trixie (50) 'Terror In The Haunted Gardner in their home. The House" Gerald Mohr, Cathy Gardners taught Washoe O'Oonnell. (1958) Young bride American Sign Language, the is terrified when her husband language of the deaf. Not only has takes her to live in the mansion Washoe turned out to be an that is the scene of her many amazingly successful scientific horrible nightmares. experiment — but it turns out she has some very "human" char¬ 1:30 PM acteristics. -
Knowing and Being Known: Sexual Delinquency, Stardom, and Adolescent Girlhood in Midcentury American Film
University of Kentucky UKnowledge Theses and Dissertations--English English 2014 KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM Michael Todd Hendricks University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hendricks, Michael Todd, "KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM" (2014). Theses and Dissertations--English. 14. https://uknowledge.uky.edu/english_etds/14 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Newsletter 01/12 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 01/12 DIGITAL EDITION Nr. 305 - Januar 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 01/12 (Nr. 305) Januar 2012 editorial Hallo Laserdisc- und sten Mustervorführungen geschlossen. Um Ihnen DVD-Fans, waren bereits vielverspre- schon einen kleinen Vorge- liebe Filmfreunde! chend. Seien Sie also ge- schmack zu geben, haben spannt. Wir werden Sie na- wir auf dieser Seite schon Mit 86 prall gefüllten Seiten türlich rechtzeitig informie- mal das Teaser-Poster ab- heissen wir Sie ganz herzlich ren, sobald unser Projekt gebildet. willkommen zu unserem er- fertiggestellt ist. Denn dann sten Newsletter in unserem werden Sie den “Director’s In diesem Sinne – freuen Jubiläumsjahr 2012. Gerne Cut” auf unserer Website Sie sich mit uns zusammen hätten wir Ausgabe 305 (www.laserhotline.de) an- auf ein adrenalintreibendes schon wesentlich früher ins schauen können. Eine an- Jahr! Feld geschickt, doch wie es schließende Kinoauswertung halt immer so ist: Termine, ist übrigens auch nicht aus- Ihr Laser Hotline Team Termine, Termine. Dafür aber sieht die aktuelle Aus- gabe vom Umfang eher aus wie eine Doppelnummer – und das obwohl wir auf Grafik praktisch fast voll- kommen verzichtet haben. Aber Sie kennen ja unsere Einstellung: Information geht vor! Auch wenn Sie lange nichts mehr von uns gehört haben, so waren wir doch extrem fleissig. Denn um un- ser 20jähriges Jubiläum ge- bührend feiern zu können, haben wir mit der Produkti- on unseres ersten eigenen Films begonnen. -
The Black.Ha Wk Films Collection
FILM PRESERVATION ASSOCIATES 8307 San Fernando Road Sun Valley, CA 91352 Telephone: 818 768-5376 Proudly Presenting in 16mm film ... THE BLACK.HAWK FILMS COLLECTION rrfie 'BfackJiawf(!Ji[ms Li6rary is 6aclcJ !for forty years1 '13facf(liawf('s vast fi6rary of 6eautijuffy reproaucea vintage movies set a worU-renoumea stanaanf for quafity. J-{ere is !fPJlls secona group of re[eases, joining tlie initia{fifty fi[ms refeasea in s eptem6er. 'We wi{[ announce aaaitiona{ se[ections on a regufar 6asis unti{ severa{ liunarea tit[es are again ·in print.· Jll{[ are new1 first-cfass prints, prompt[y aeCiverea. Prices shown are for films with rights for home and non-theatrical exhibition; please inquire if you desire theatrical, television or stock footage clearance. Hal Roach Productions (marked with an (*) asterisk) may be shipped only to destinations in the United States and Canada. Other terms of service follow the list of films. Winter 1990 Stan Laurel & Oliver Hardy THE CHIMP• (1932) $210 TI-IE CHIMP was the first of several L&H comedies with imaginatively animated opening title sequences. in this case two clowns holding a trampoline which rtps to reveal e<;1ch title. Previously unavailable. we're delighted to announce our prints have the ORIGINAL MAIN TITLES RESJPRED, Beyond the stunning titles, we find Stanley being paid off with a flea circus and Ollie with Ethel "the human chimpanzee" when the circus they work for goes broke. Ala "Angora Love," they have to hide their new assets from the landlord. Toe chimp takes over the best bed forcing the boys to sleep in the less good one commandeered by the fleas. -
Virginia Weidler
Virginia Weidler Titles: 44 Sources: 4 Stills: 13 Born: Eagle Rock, California; March 21st 1927 Died: July 1st 1968, of a heart attack [elsewhere given as 1967] Halliwell’s Filmgoer’s Companion entry: Those Endearing Young Charms entry: “American child actress who usually played a “Dark brown hair and brown eyes. Virginia was little horror.” the daughter of Margaret Weidler, one time grand opera star. As a young girl, Virginia enjoyed acting in and directing home-made “The youngest of six children of Alfred and plays with her five brothers and sisters. When Margaret Weidler, she was born in Eagle Rock, she was five years old she received a part in a Calif., March 21, 1927. Her mother had been professional play entitled “Autumn Crocus“. an opera singer under the name of Margaret The part called for a little girl who could speak Theresa Louise, and she tutored her children in both French and German. Virginia was a languages. At the age of three, Virginia acted in precocious young lady [sic], and since she was “MOBY DICK“, with John Barrymore, but her able to speak both languages she won the role. real acting career began as one of the Wiggs children, in “MRS WIGGS OF THE Sitting in on one of her performances was CABBAGE PATCH“, 1934. Her last pictur Norman Taurog, a director for Paramount was “BEST FOOT FORWARD“ in 1943. She Pictures. She so enchanted Mr Taurog that he went East to become a vocalist in night clubs, hired her to act in his forthcoming movie, and appeared in a singing act at Loew‟s State “MRS WIGGS OF THE CABBAGE Theatre in 1943. -
Ub Lwerks' SINBAD the SAILOR the MISADVENTURES OF
Ub lwerks' SINBAD THE SAILOR Ub lwtlrks let his Imagination run rampant in SINBAD THE SAi LOR, so that ot times this oction•Pocked cartoon borders on sur• realism. The storv moves ropidlv from one absurd scene to another. Slnbod spots o Pi rote ship and not onlv does its Captain hove on eve• patch and o peg•leg, but the Captain's parrot hos on eve·Potch and a peg.leg too! Sinbod's ship, which resembles o brontosaurus, sights the pirate ship, does o double•toke, and proceeds to run on its oars across the water. The skull and crossbones flog uses its bones os binoculars and sights Sinbod's ship. When the pirates fire cannon• bolls, Sinbod hits the projectiles with o bot os if thev were baseballs. During the bottle even the parrots get into the act, as Sinbod's par• rot does bottle with the pirate's parrot. The Pirate's parrot tokes off his leg to use as o weoPOn . As bullets bounce off the chest of the tough old pirate Captain, his mermaid totoo dives Into the water totoo to ovoid being hit. The pirates win the bottle and Sinbod walks the Plank. Rescued bv his parrot, Slnbod swims to shore and hollucl• notes hulo•doncers. He sees the pirates burying his treasure and be• gins to bombard them with coconuts. When he mistakes on ape's head for o coconut, the ope tosses him out of the tree and Into the clutches of the pirates. They tie the unfortunate sailor to what OP· pears to be o tree but is octuollv o giant bird. -
WRAP THESIS Pillai 2012.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/50024 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The Happy Couple: American Marriages in Hollywood Films 1934-1948 Nicolas Pillai A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film Department of Film and Television Studies University of Warwick April 2012 Table of Contents List of illustrations………………………………………………….6 Acknowledgements…………………………………………………7 Abstract……………………………………………………………..9 Introduction……………………………………………………….10 Review of the literature Cavell’s couples……………………………………………………20 Challenging Cavell: David R. Shumway…………………………..24 The problem of happiness………………………………………….26 Spaces of comedy and melodrama…………………………………31 Spaces of performance……………………………………………..35 Couples and cycles…………………………………………………38 Performance: Virginia Wright Wexman…………………………...42 Performance: James Naremore……………………………………..45 Performance: Andrew Klevan……………………………………...48 Defining ‘chemistry’……………………………………………….51 Marriage and its contexts: Kathrina Glitre…………………………54 1. Partners in Crime: marriage and mystery in film series…..58 The seduction of crime……………………………………………..61 Watching the detectives…………………………………………….64 -
RADIO MIRROR, 122 East 42Nd As a Mother of Three Children, I Read Thanks for Your Contribution of the Street, New York, N
ASTOUNDING OUTCOME of the 'MARTIAN SCARE"! $ § or m i rz r o/t ITTERBU6S ERE NOT WHAT YOU THINK WHY I HATE THEM a Famous Dance Band Leader ' SSBBM K^ow >t> ^O OUR flRSnDV£ 2rra iffl^1***' i 4P 'tt ' MARIE jjF 4m '"^r- the only syrup served to the Dionne quintuplets. Its maltose and dextrose are ideal fc 1 '.*. fe carbohydrates for grow- ing children. •*• >*• '*• '»,;*';» i i. r '«W. .. i • r %&< * *» lUkdt da ojott waMt ta sai(? FIRST PRIZE HAIL, AMERICAN BROADCASTINGI has been the fashion in recent ITyears for certain self-appointed critics to knock the American sys- tem of broadcasting. We would be better off, they cry, if all broadcasting was in the hands of the government. In the recent war crisis these critics received an answer that should silence them forever. The American broad- casting companies' handling of the war news was a truly magnificent achieve- ment. An achievement that was du- plicated nowhere else in the world. I think we should all doff our hats to the broadcasting companies. In a vital situation, packed with genuine drama, they justified themselves be- fore the world, and proved themselves worthy of the name, American. Vernon Wilkinson Oakland, Calif. SECOND PRIZE A SURE CURE A more pleasant man than my hus- band you'd never want to know, but when he drove a car, he became a demon. He cursed other drivers; damned road conditions and traffic congestions—until we got the radio for the car. Now he tunes in the program, smiles happily; never notices how many red lights he stops for; will, and does, willingly help a fellow driver in diffi- culty, with never a word of damnation (which, fortunately, nobody but me ever heard anyway). -
Untitled Review, New Yorker, September 19, 1938, N.P., and “Block-Heads,” Variety, August, 31, 1938, N.P., Block-Heads Clippings File, BRTC
Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous support of the Ahmanson Foundation Humanities Endowment Fund of the University of California Press Foundation. Hokum! Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture Rob King UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advanc- ing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2017 by Robert King This work is licensed under a Creative Commons CC BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: King, Rob. Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture. Oakland: University of California Press, 2017. doi: https://doi.org/10.1525/luminos.28 Library of Congress Cataloging-in-Publication Data King, Rob, 1975– author. Hokum! : the early sound slapstick short and Depression-era mass culture / Rob King. Oakland, California : University of California Press, [2017] | Includes bibliographical references and index. -
Scotty Beckett
Scotty Beckett Titles: 83 Sources: 2 Stills: 11 Born: Scott Hastings Beckett; Oakland, California; October 4th 1929 th Died: Hollywood; May 8 1968; probable suicide by overdose Aged 13 in “THE BOY FROM STALINGRAD” Source: indeterminate website Halliwell’s Filmgoer’s Companion entry: and in 1947 in "CYNTHIA" and "DANGEROUS YEARS". 1948 gave him, too “Soulful-looking American child actor of the old, the lead in a remake of the preposterous thirties and forties; one-time member of "Our "MICHAEL O’HALLORAN", but not in "A Gang".” DATE WITH JUDY". He had a rewarding lead on radio in the popular series "The Life of Riley". The Moving Picture Boy entry: There followed "BATTLEGROUND" (49), “Scott Hastings Beckett’s life started and ended, submission to Dean Stockwell in "THE as many lives do, in hospital. But the first HAPPY YEARS", plus "LOUISA" and impulse to his career came there too, when a "NANCY GOES TO RIO" (50) and another Hollywood casting director spotted him very B-rated lead in "CORKY OF GASOLINE entertaining his sick father with a medley of ALLEY" (51). He was given opportunities for pop sings. The rest, for a decade or so, was comedy in the TV serial "Rocky Jones, Space stardust. Ashes came later. Ranger" (54) but largely ignored in his last film, the courtroom drama "THREE FOR JAMIE He was a girlishly pretty child, with fine dark DAWN" (56). eyes somewhat in the Jackie Coogan mould. The expression, though, lacked Coogan’s steel - His youthful appeal had almost gone. Far from it was sweet, but slightly weary and petulant. -
WRAP THESIS Willis 2002.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/55891 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THE SIGNIFIER RETURNS TO HAUNT THE REFERENT Blackface and the Stereotyping of African-Americans in Hollywood Early Sound Film by Corin Charles Willis BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film Studies University of Warwick Department of Film and Television Studies December 2002 BEST COpy AVAILABLE TEXT IN ORIGINAL IS CLOSE TO THE EDGE OF THE PAGE CONTENTS List of Dlustrations llI-IV AcknowledgementslDeclaration v Abstract VI Prologue 1 Introduction 12 1:The Stereotypical Portrayal of African-Americans in Hollywood film. 13 2:The 'Nature' of the Blackface Medium 16 Chapter One: The Persistence of Blackface in Early Sound Film 29 1:Past Accounts of Blackface in Early Sound Film 29 2:Four Categories of Blackface in Early Sound Film. 35 3:Conclusions on the 'Map' of Blackface Persistence 81 Chapter Two: Shadows of Blackface: The Racial Marking of 93 African-American Actors and Performers in Early Sound Film 1:Film Practices Involved in the Racial Marking of 97 African-Americans in Film 2:Aspects of Film Form Involved in the Racial Marking 106 of African-Americans in Film 3 :Minstrelsy Rebuilt 119 Chapter Three: Co-presence in the Films of AI Jo)son and Eddie Cantor 127 1:Co-presence in The Singing Fool 133 2:The Afterlife of lolson's Blackface Mammy 148 3:Blackface By Proxy, Whiteface and Afiican-American 171 Association in Hallelujah I'm a Bum 4:Co-presence and African-American Vernacular in lolson/Cantor Films.