NY Tribune August 24 Th , 1919
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The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
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Marion Leonard Lived: June 9, 1881 - January 9, 1956 Worked as: film actress, producer, screenwriter Worked In: United States by Sarah Delahousse It is well known that Florence Lawrence, the first “Biograph Girl,” was frustrated in her desire to exploit her fame by the company that did not, in those years, advertise their players’ names. Lawrence is thought to have been made the first motion picture star by an ingenious ploy on the part of IMP, the studio that hired her after she left the Biograph Company. But the emphasis on the “first star” eclipses the number of popular female players who vied for stardom and the publicity gambles they took to achieve it. Eileen Bowser has argued that Lawrence was “tied with” the “Vitagraph Girl,” Florence Turner, for the honorific, “first movie star” (1990, 112). In 1909, the year after Lawrence left Biograph, Marion Leonard replaced her as the “Biograph Girl.” At the end of 1911, Leonard would be part of the trend in which favorite players began to find ways to exploit their popularity, but she went further, establishing the first “star company,” according to Karen Mahar (62). Leonard had joined the Biograph Company in 1908 after leaving the Kalem Company, where she had briefly replaced Gene Gauntier as its leading lady. Her Kalem films no longer exist nor are they included in any published filmography, and few sources touch on her pre-Biograph career. Thus it is difficult to assess her total career. However, Marion Leonard was most likely a talented player as indicated by her rapid ascension to the larger and more prominent studio. -
Pantomime10-29-21.Pdf
11olumt I Number 5 $S.oo a Year 10 Cenll a CO" ILLUSTRATED WEEKLY Puhlished weekI>' h?' Movie Topics•. Inc. .. Pantomime" applicalion col." for second Suite 9H World' BUIlding. "ew \'ork Cit)". cia.. mail mailer under tbe act of March President Muna)' Lazarus; Secrelary and OciOBER 29, 1921. J. 1879.-8y subscription. $5,00 tbe ,ear. Treasure;. Victor C, Olmsted. Canada. $6.00 the year. .in.le copies IS':. DOUGLAS FAIRBANKS F ANYONE ever was trained to fulfill a years was a Broadway favorite and box-office destiny, that man i& Douglas Fairbanks. To star, the youngest...male luminary of first rank in I day, perhaps, the world's most brilliantly suc the country. (l'ssful romantic actor of the motion picture Not until they had attained some dignity did Jrama-the man who has made "Three Muska Fairbanks rush into motion pictures; not until teers" leap out of its pages into a classic of real after a real masterpiece had be~n produced action-was reared along idral'lines to attain his "The Birth of a Nation." Then he saw that' great eminence. And remarkably enough, the here was the medium of drama of the future. preparation began IQng before sudl a thing as thl.' His first picture was '''The Lamb." His person ~creeil art had become a fact. ality, already recognized in stage plays' like As "Doug" himself ha" said to the writer, "1 "Frenzied Finance," "Hawthorne of the U. S. was brought up to do the ordinary thingS of life A.," and Officer 666," seemed to intensify in the most graceful and expert manner. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
1001 Films 3
j Scanned from the collections of The Library of Congress Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www . I oc . g ov/rr/re co rd A Reference Book for Non-Theatrical Film Users Compiled by Moving Picture Age Chicago Before You Order, Consult Our Experts Our expert guidance will: Save you waste and mistakes; Help you plan your campaign; Offer original ideas and treatment \ assure good photography, developing, printing, cutting, titling, editing. Our services do not add to the cost of the picture. Let us tell you why. When Picture Service Corporation makes pictures for you, you have at your disposal the services of all the best producers. Picture Service has the work done by the one best qualified to handle that particular subject in the best way. Picture Service knows just what kind of work each can do best—and how quickly. Picture Service itself sees that the story is planned so as to be interesting, attractive, and put across your ideas. Our organization includes: WM. M. HANDY—15 ROWLAND ROGERS, years feature editor Ph. B., J. D.—formerly THE CHICAGO TRIB- tlU^Jn °/ Trvro i-i. 4. MOUNT & GOLD- UNE, sees that every WYN Pictographs, picture is really inter- Production Manager esting. Bray Studios, recently LYNE S. METCALFE, dgrg^JJ^ formerly general man- t instructional pic- ager MOTION PIC- tures in New York TUBE AGE. City's Public Schools. TRAINED SCENARIO WRITERS, ADVISERS ON DISTRIBUTION. Through us, you secure a successful picture, properly designed and full of interest. -
The Montana Kaimin, April 16, 1920
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Kaimin, 1898-present Montana (ASUM) 4-16-1920 The Montana Kaimin, April 16, 1920 Associated Students of the State University Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Let us know how access to this document benefits ou.y Recommended Citation Associated Students of the State University, "The Montana Kaimin, April 16, 1920" (1920). Montana Kaimin, 1898-present. 526. https://scholarworks.umt.edu/studentnewspaper/526 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. VOL. XIX. STATE UNIVERSITY OF MONTANA, FRIDAY, APRIL 16, 1920. I?0. 50 TAKE STAND AGAINST BULLETIN EDUCATIONAL CRISIS MONEY IIS AVAILABLE Ronan, April 16.— Ronan came E A last minute check of the A. S. across with a first class house U. M. finances brings the news that OF The receipts of the entertainment ORE TO LOW F S there is enough money in the treas were $230. A good dance was giv ury to warrant the sending of a AT VARSITY VOOVIL en afterwards and everybody was relay team to the Relay Carnival LEGISLATURE RECOGNIZES FACULTY ADOPTS RULES TO well pleased. In Seattle. A special meeting of OUR SHOW CAN’T. BE BEAT NEEDS OF SCHOOLS CORRECT EVIL GUY MOONEY, Manager. -
Current As of 10.23.2019 7,200 Lost U.S. Silent Feature Films (1912-29) National Film Preservation Board (October 2019) • This
1 Current as of 10.23.2019 2 7,200 Lost U.S. Silent Feature Films (1912-29) 3 National Film Preservation Board (October 2019) 4 5 • This compilation is a definite work-in-progress. Updated versions of this list will 6 be posted periodically at this location. 7 • Feature film means 4 reels or more in length 8 • Each title contains a hypertext link to its entry in our silent film database. There 9 you can find additional information on each title, including studio. 10 • In cases where only a fragment from one reel, trailer, outtakes or stills survive, 11 that film is included in this list as a lost film. 12 • “Incomplete” films are not included here. These comprise cases where a full reel 13 or more survives but not the whole set of reels. 14 • Our searchable database consists of approximately 11,000 titles, the 7200+ in 15 this list of “lost” titles as well as the 3800 or so titles surviving as incomplete or 16 complete. The full database may be searched at: 17 http://memory.loc.gov/diglib/ihas/html/silentfilms/silentfilms-home.html 18 • Please direct any questions or report any errors/suggested changes to Steve 19 Leggett at [email protected] 20 21 • Some recent “finds” now removed from this list: Devil’s Claim (1920), 22 Foreman of the Bar-Z Ranch (1915), Secrets of the Night (1924), Sinews of 23 Steel (1927), Broadway Billy (1926), Broadway Gold (1923), Dancer and the 24 King (1914), Dark Angel (1925), Double-Fisted (1925), Earth Woman (1926), 25 Man-Made Women/Woman (1928), Eye of Envy (1917), Between Dangers 26 (1927), Pursued (1925), On-the-Square Girl (1917), Two Lovers (1928), 27 Win(k)some Widow (1914), Clear the Decks (1917), Grim Game (1917), The 28 Noose (1928), In Slumberland (1917) 29 30 31 $1,000 Reward (1923), Charles R. -
P-26 Motion Picture Collection
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
MYRNA LOY FILMOGRAPHY-Online Expanded Version 1
MYRNA LOY FILMOGRAPHY-Online Expanded Version 1 Compiled by Karie Bible and Emily Leider 1) PRETTY LADIES September 6, 1925; six reels, silent, b&w. Directed by Monta Bell; produced and distributed by Metro-Goldwyn; adapted by Alice D. G. Miller; photography, Ira H. Morgan. Cast: ZaSu Pitts (Maggie Keenan), Tom Moore (Al Cassidy), Ann Pennington (Herself) Lilyan Tashman (Selma Larson), Bernard Randall (Aaron Savage), Conrad Nagel (Maggie's dream lover), Norma Shearer (Frances White), Lucille Le Sueur (Bobby), Roy D'Arcy (Paul Thompson), Lew Harvey (Will Rogers), Jimmie Quinn (Eddie Cantor); ML as uncredited chorus girl. Source: "Pretty Ladies" by Adela Rogers St. Johns in Cosmopolitan Magazine. 2) SATAN IN SABLES November 14, 1925; eight reels, silent, b&w. Directed by James Flood; assistant director, Gordon Hollingshead; produced and distributed by Warner Bros. Pictures; scenario and adaptation by Bradley King; photography, John Mescall; additional photography Bert Shipman. Cast: Lowell Sherman (Michael Lyev Yervedoff), John Harron (Paul Yervedoff), Pauline Garon (Colette Breton), Gertrude Astor (Dolores Sierra), Frank Butler (Victor), Francis McDonald (Émile); ML was inserted into a scene with Lowell Sherman. 1 MYRNA LOY FILMOGRAPHY-Online Expanded Version 2 3) SPORTING LIFE November 29, 1925; seven reels, silent, b&w. Directed by Maurice Tourneur; produced by Carl Laemmle/Universal Jewel; distributed by Universal Pictures; adapted by Curtis Benton; photography, Arthur Todd; art direction, Leo E. Kuter. Cast: Bert Lytell (Lord Woodstock), Marian Nixon (Norah Cavanaugh), Paulette Duval (Olive Carteret), Cyril Chadwick (Phillips), Charles Delaney (Joe Lee), George Siegmann (Dan Crippen), Oliver Eckhardt (Cavanaugh), Ted "Kid" Lewis (Boxer); ML in un-credited role as chorus girl.