Inside Facts of Stage and Screen (May 3, 1930)
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Boxoffice Records: Season 1937-1938 (1938)
' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J. -
Our Boys : a Comedy in Three Acts
^“.“LesUbranf Sciences fcrts & Digitized by the Internet Archive in 2016 https://archive.org/details/ourboyscomedyint00byro_0 IVv \ [jiw y\ 7 1 >t ir? f i/wjMr'.' ' v'-’ Vi lliahVarren EDITION OF- STANDARD • PLAYS OUR. BOYS VALTER H .BAKER & CO. N X} HAM I LTOM • PLACE BOSTON a. W, ^laj>3 gBrice, 50 €entg €acl) TH£ AMAZONS ^arce * n Three Acts. Seven males, five females. Costumes, modern ; scenery, not difficult. Plays a full evening. THE CABINET MINISTER in Four Acts. Ten males, nine females. Costumes, modern society ; scenery, three interiors. Plays a full evening. in Three DANDY DICK Farce Acts. Se\en males, four females. Costumes, modern ; scenery, two interiors. Plays two hours and a half. Comedy in Four Acts. Four males, ten THE GAY LORD OUEX^ females. Costumes, modern ; scenery, two interiors and an exterior. Plays a full evening. Comedy in Four Acts. .Nine males, four BIS BOUSE IN ORDER ' females. Costumes, modern scenery, ; three interiors. Plays a full evening. ^ome<i ^ Three Acts. Ten males, five THE HOBBY HOBSE ^ females. Costumes, modern; scenery easy. Plays two hours and a half. ^rama ^ Five Acts. Seven males, seven females. Costumes, IRIS modern ; scenery, three interiors. Plays a full evening. Flay *n Four Acts. Eight males, seven fe- I A R0I1NTIFITI ** BY ** males. Costumes, modern ; scenery, four in- teriors, not easy. Plays a full evening. T>rama in Four Acts and an Epilogue. Ten males, five fe- I FTTY ** males. Costumes, modern ; scenery complicated. Plays a full evening Sent prepaid on receipt of price by Waltn % oaafeet & Company No. 5 Hamilton Place, Boston, Massachusetts OUR BOYS A Comedy in Three Acts By HENRY J. -
Theatre Organ Bombarde (Title Registered U
TheatreOrgan Bombarde JOURNALof the AMERICAN THEATREORGAN ENTHUSIASTS ~ June 7967 YOUR FUNI IN THEMOTOR CITY THE1967 IN NATIONAL ATOE CONVENTION '67 DETROIT MICHIGAN ♦ •• • . -- ~ ~ ., ".. .,.,.~ Anl~di8~-'i11111111e, Valafion Yo111/Re111e111be, Fo,e~e~i Ro~GEk~•· A~Etl·· HA/f\N\GND•• S4LPM/itl•· 1'iMBAI!-.. THE - __ ---<'_,,,.-- - - - ......~ -- - - -~ ~ ✓-- ,, :f R.e.§ -w.a!.e.o,,t 0 !Uf an."'6.-l6.. an-tii , H.a.E..en.<J-' 6.. 9{.e.6..o.,,J, arn.a.n 'J- .tR.e. - - / - - - _. p, (,M6.. Oe f aK.e.e-0-Un½, eaft.eottr\A.Cl WRITE FOR BROCHUR . H.O.F ., 3291 GUIDO ST O E . ., AKLAND, CALIF. 94602 A'MERICANTHEATRE ORGAN SOCIETY ARCHIVESLIBRARY TheatreOrgan Volume 9, No. 3 Boffibarde Volume 4, No. 3 A.T.0.1:.. National Membership is $6.00 per year, which includes a sub scription to Thea1re Organ 8 0111- barde, the off icia l publication of the A merica n T he a tre Organ l:.nthusiasts. M ake check or money ord er payab le to A.T. 0 .1:.. and mai l to P.O . lfox 7404 ~ 7"£/'.1F/7C Bitt er Lake St ation. Seattle, Washington 98133. L/ ~_,,,_;TS ,9;- ALL MATERIAL FOR PUBLICATIONS rLOR/S.7.J /},i.,L. /N TE/Z-!-'Ec,,;c,,;v.S Te;! : G ~ ,,7,,:-,;,,./ SHOULD BE SENT TO THIS ADDRESS . ,Dc?L/ t/cR v' e~--.o 6. * * * A.T.O.E. Officers The best route to take to get to the Pick-Fort Shelby Hotel is the southbound Lodge Freeway (l- Dick Schrum President 696) south from the eastbound Ford Freeway (l-94). -
Return of Organization Exempt from Income
efile GRAPHIC p rint - DO NOT PROCESS As Filed Data - DLN: 93493321035384 Return of Organization Exempt From Income Tax OMB No 1545-0047 Form 990 Under section 501 ( c), 527, or 4947 ( a)(1) of the Internal Revenue Code ( except private foundations) 2O1 3 Do not enter Social Security numbers on this form as it may be made public By law, the IRS Department of the Treasury Open generally cannot redact the information on the form Internal Revenue Service Inspection - Information about Form 990 and its instructions is at www.IRS.gov/form990 For the 2013 calendar year, or tax year beginning 06-01-2013 , 2013, and ending 05-31-2014 C Name of organization B Check if applicable D Employer identification number EQUITY LEAGUE HEALTH TRUST FUND f Address change 13-6092981 Doing Business As • Name change fl Initial return Number and street (or P 0 box if mail is not delivered to street address) Room/suite E Telephone number 165 WEST 46TH STREET 14TH FLOOR p Terminated (212)869-9380 (- Amended return City or town, state or province, country, and ZIP or foreign postal code NEW YORK, NY 10036 1 Application pending G Gross receipts $ 104,708,930 F Name and address of principal officer H(a) Is this a group return for Arthur Drechsler subordinates? 1 Yes F No H(b) Are all subordinates 1 Yes F No included? I Tax-exempt status F_ 501(c)(3) F 501(c) ( 9 I (insert no (- 4947(a)(1) or F_ 527 If "No," attach a list (see instructions) J Website : - www equityleague org H(c) Group exemption number 0- K Form of organization 1 Corporation 1 Trust F_ Association (- Other 0- L Year of formation 1960 M State of legal domicile NY Summary 1 Briefly describe the organization's mission or most significant activities TO PROVIDE HEALTH AND OTHER BENEFITS TO ELIGIBLE PARTICIPANTS w 2 Check this box Of- if the organization discontinued its operations or disposed of more than 25% of its net assets 3 Number of voting members of the governing body (Part VI, line 1a) . -
St. Louis Fox by Terry Clark,J~
THE CAVERNOUS ST. LOUIS FOX BY TERRY CLARK,J~ The Fox Theatre circuit, perhaps the Thus, a great movie palace, conceived most prodigious builder of cinema pal and partially constructed in the silent aces in an era of extravagant motion pic era, opened in a new age - an age its ture theatre construction, poured its re builders had not foreseen, even with the sources into five great Fox Theatres at ominour forebodings of "sound". Detroit (September 1928), Saint Louis During the eight months preceding the (January 1929), San Francisco (February opening of the house, work went forward 1929), and Philadelphia, and Newark on the $75,000 4/36 Wurlitzer, one of the (September 1929). four great Crawford Specials built during The Saint Louis Fox, a midwestern the last days of the theatre organ con theatre landmark, was lavishly decorated struction. So much of rather conflicting under the personal supervision of Mrs. nature has been written concerning these William Fox. A Moorish motif was instruments, that this writing shall be carried out through the use of expensive confined to the physical aspects of the objects d'art imported from the Far instrument. That the Paramount Wur East. The vast majority of motion pic litzer was the "mother" instrument and Drawing of the facade from the original ture theatres of that era could have been that similar, if not identical instruments souvenir program (Courtesy of George housed comfortably in the grand Lobby went into Detroit, San Francisco, and Swett). and Foyer of the Saint Louis Fox. Saint Louis, cannot be argued. On January 31, 1929, the theatre opened In the Saint Louis Fox, the blower and with Frank Borzage's "Street Angel", relay rooms and the seven chambers starring Janet Gaynor and Charles Far cover a vertical height equal to a five rell. -
Not Be Fouud by at Least Three of the Inspectors"
I j. f? 6 NEW YOEK HERALD, THURSDAt. OCTOBKK % Ib79..TKU'JLE SHEET. State in the election. d'Etat. self and for himself in a barrel all around Btinot.has been the of The New Folltieal Firm.Kelly, the equal advantages Mayor Coupor'n Coup outgrowth should have one-fourth of the circle, 'l'ho Herald at tbo time warned afforded tho Mr. Thomas and NEW YORK HERALD & Co. But if Tammany "It is the uuoxpocte 1 that happens," public by opportunities Cornellthe there would be least the and of all these bis ooluborors in this field of music during in the Police lioard inspectors virtually says a French proverb; bat among the proprietors supportors AND ANN STREET. The pending struggle three Cornell in each district that booms that they were making the post twenty years. Our German BROADWAY of of iuspeotors expected and most surprising tilings simply over the appointment inspector* one ltobinson sinoe the ridiculous and that each and every musical.have fostered and chief ugaiust inspector, could have happened is Mayor Cooper's themselves residents.largely continues to be the politicalelection and avowed of the vote one of them was marked for an kept alive in their homes the lovo of JAMES GORDON BENNETT, have solo purpose Kelly to remove from the Polioe Board hisattempt early grave. enough our uorr.ii:To». topic, although inspectors is to elect Cornell. own of Messrs. The first frost has scaroely come and tho old masters, and formed a to conduct the appointees, two whom, they been appointed legally The order of Barrett the and have been his servile prediction has been fulfilled. -
Megan Baker Research Honors Pt. 2
Queering Little Women Part Two: Jo March Goes Hollywood By Megan Baker Introduction Louisa May Alcott published her novel Little Women in 1868. It is the coming of age story of the March sisters: Meg, Jo, Beth, and Amy, as they move from childhood to womanhood. The main character is Jo March, and she expresses discomfort with femininity and the expectations of womanhood. Through scholarly research, I discovered that scholars have misunderstood Jo March’s gender, as she persistently demonstrates masculinity throughout the story. In fact, throughout the entire novel, gender is not cut and dry: it is fluid. In this video, I will explore these same concepts in the 1933 and 1949 film adaptations of the novel to see how the queerness of Little Women is portrayed on-screen. Hollywood and Film Background During the mid-twentieth century, roughly 1930s to 1970s, there was this widespread dismissal of Louisa May Alcott and Little Women in the scholarly community. Apparently, a young George Cukor, who would go on to direct the 1933 film adaptation, “did not consider Alcott worthy of notice” (102). However, even though scholars were ignoring Alcott, Little Women remained very popular among the general public, especially among children and young women. In the 1930s, the novel was frequently a favorite book among children. In a high school poll in Milwaukee in 1931, the novel was the favorite book among the girls surveyed. One girl wrote that “if Jo March could come alive the world would be a much gayer and cheerier place than it is today” (106). -
OBSCENE, INDECENT, IMMORAL, and OFFENSIVE 100+ Years Of
ch00_5212.qxd 11/24/08 10:17 AM Page iii OBSCENE, INDECENT, IMMORAL, AND OFFENSIVE 100+ Years of Censored, Banned, and Controversial Films STEPHEN TROPIANO ELIG IM HT L E DITIONS LIMELIGHT EDITIONS An Imprint of Hal Leonard Corporation New York ch00_5212.qxd 11/24/08 10:17 AM Page iv Copyright © 2009 by Stephen Tropiano All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2009 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 19 West 21st Street, New York, NY 10010 Printed in the United States of America Book design by Publishers’ Design and Production Services, Inc. Library of Congress Cataloging-in-Publication Data is available upon request. ISBN: 978-0-87910-359-0 www.limelighteditions.com ch04_5212.qxd 11/21/08 9:19 AM Page 143 CHAPTER 4 Guns, Gangs, and Random Acts of Ultra-Violence n the silent era, the cinematic treatment of crime and criminals was a major point of contention for those who believed there was a Idirect cause-and-effect link between the depiction of murder, rape, and violence and real crimes committed by real people in the real world. They were particularly concerned about the negative effects of screen violence on impressionable youth, who were supposedly prone to imitate the bad behavior they might witness in a dark movie theatre one sunny Saturday afternoon. -
Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Korngold, Alfred Newman, Philip Sainton, Adolph Deutsch, Hans J
570110-11bk Sea Hawk:570183bk Son of Kong 24/4/07 5:36 PM Page 24 John Morgan Widely regarded in film-music circles as a master colorist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, described by one critic as “an atomic-age Fantasia, thanks to its spectacular nuclear explosions and powerhouse music.” In addition, Morgan has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. Recently, Morgan composed the score for the acclaimed documentary, Cinerama Adventure. William Stromberg A native of Oceanside, California, who hails from a family of film-makers, William T. Stromberg balances his career as a composer of strikingly vivid film scores with that of a busy conductor in the original Marco Polo Classic Film Score Series. Besides conducting his own scores—including his music for the thriller Other Voices and the documentary Trinity and Beyond—Stromberg serves as a conductor for other film composers. He is especially noted for his passion in reconstructing and conducting film scores from Hollywood’s Golden Age, including several works recorded for RCA with the Brandenburg Philharmonic. For Marco Polo, he has conducted albums of music devoted to Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Philip Sainton, Adolph Deutsch, Hans J. Salter, Victor Young, Franz Waxman, Bernard Hermann and Malcolm Arnold. -
Nashville Community Theatre: from the Little Theatre Guild
NASHVILLE COMMUNITY THEATRE: FROM THE LITTLE THEATRE GUILD TO THE NASHVILLE COMMUNITY PLAYHOUSE A THESIS IN Theatre History Presented to the Faculty of the University of Missouri – Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by ANDREA ANDERSON B.A., Trevecca Nazarene University, 2003 Kansas City, Missouri 2012 © 2012 ANDREA JANE ANDERSON ALL RIGHTS RESERVED THE LITTLE THEATRE MOVEMENT IN NASHVILLE, TENNESSEE: THE LITTLE THEATRE GUILD AND THE NASHVILLE COMMUNITY PLAYHOUSE Andrea Jane Anderson, Candidate for the Master of Arts Degree University of Missouri - Kansas City, 2012 ABSTRACT In the early 20th century the Little Theatre Movement swept through the United States. Theatre enthusiasts in cities and towns across the country sought to raise the standards of theatrical productions by creating quality volunteer-driven theatre companies that not only entertained, but also became an integral part of the local community. This paper focuses on two such groups in the city of Nashville, Tennessee: the Little Theatre Guild of Nashville (later the Nashville Little Theatre) and the Nashville Community Playhouse. Both groups shared ties to the national movement and showed a dedication for producing the most current and relevant plays of the day. In this paper the formation, activities, and closure of both groups are discussed as well as their impact on the current generation of theatre artists. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “Nashville Community Theatre: From the Little Theatre Guild to the Nashville Community Playhouse,” presented by Andrea Jane Anderson, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance.