Inside Facts of Stage and Screen (January 3, 1931)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
UNIVERSITY of CALIFORNIA Los Angeles Disruptive Convergence
UNIVERSITY OF CALIFORNIA Los Angeles Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Jennifer Anne Porst 2014 © Copyright by Jennifer Anne Porst 2014 ABSTRACT OF THE DISSERTATION Disruptive Convergence: The Struggle Over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955 by Jennifer Anne Porst Doctor of Philosophy in Film and Television University of California, Los Angeles, 2014 Professor John T. Caldwell, Chair This project is located at the intersection of television and film studies and examines the causes and effects of disruption and convergence in the media industries through a case study of the struggle over Hollywood’s feature films on television before 1955. Since television began broadcasting in earnest in 1948, two years after Hollywood saw its box-office revenues decline precipitously from their all-time high in 1946, the important question to ask becomes: why did it take seven years for Hollywood’s features to make their way to television? Through an investigation of the efforts made by the film and television industries in the 1940s and 1950s to work towards feature films appearing on television, this project concludes that Hollywood’s feature films did not appear on television until 1956, not because of the long held assumptions that the film industry was either apathetic or hostile to the nascent television industry, but rather ii as a result of a complex combination of industrial, social, legal, and governmental forces. -
EXTENSIONS of REMARKS February 27, 1974
4548 EXTENSIONS OF REMARKS February 27, 1974 IN THE COAST GUARD by the Senate and aippeared in the Congres Ellers, to be lieutenant (j.g.), and ending sional Record on February 7, 1974. Coast Guard nominations beginning Ray Thomas J. Rice, to be ensign, which nomi- IN THE NATIONAL 0cEANIC AND ATMOSPHERIC nations were received by the Senate and ap mond K. Kostuk, to be lieutenant (j.g.), ADMINISTRATION and ending Robert C. Winter, to 'be lieuten National Oceanic and Atmospheric Admin peared in the Congressional Record on Feb ant (j.g.), which nominations were received istration nominations beginning Daniel S. ruary 18, 1974. EXTENSIONS OF REMARKS CEDAR-RIVERSIDE DEVELOPMENT in live far out, and those who work far out camouflage ugly walls. Half the street acre PROVIDES ENERGY-EFFICIENT live close in. It is a perfect set-up for the age has been vacated to consolidate the land petroleum industry. into large tracts for building complexes and LIFESTYLE The real energy crisis, then, is the drain for open space. A new pedestrian transport on human energy. The average commuter system is being built at second-floor level to spends a month of daylight hours every year take the place of unneeded street mileage. HON. BILL FRENZEL beating his way over the concrete trails be And an elongated town center plaza and sur OF MINNESOTA tween home and job. If people were con rounding buildings wlll keep the motor ve IN THE HOUSE OF REPRESENTATIVES sidered as important as fossil fuels, someone hicles below the surface. Wednesday, February 27, 1974 would have appointed a human energy czar Projects such as Cedar-Riverside point out in charge of rebuilding the cities. -
Guide to the Motion Picture Stills Collection 1920-1934
University of Chicago Library Guide to the Motion Picture Stills Collection 1920-1934 © 2006 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Scope Note 3 Related Resources 5 Subject Headings 5 INVENTORY 6 Series I: Actors and Actresses 6 Series II: Motion Picture Stills 171 Series III: Scrapbooks 285 Subseries 1: Scrapbooks; Individual Actors and Actresses 285 Subseries 2: Miscellaneous Scrapbooks 296 Series IV: Vitaphone Stills 297 Series V: Large Film Stills and Marquee Cards 300 Series VI: Coming Attractions, Glass Lantern Slides 302 Series VII: Duplicate Film Stills 302 Series VIII: Index Cards 302 Descriptive Summary Identifier ICU.SPCL.MOTIONPICTURE Title Motion Picture Stills. Collection Date 1920-1934 Size 87.5 linear feet (139 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Contains approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. Includes 8" x 10" photographs, 187 scrapbooks devoted to individual film stars, marquee cards, and glass lantern slides announcing coming attractions from Pathe and other movie studios. Information on Use Access No restrictions. Citation When quoting material from this collection, the preferred citation is: Motion Picture Stills. Collection, [Box #, Folder #], Special Collections Research Center, University of Chicago Library Scope Note The Motion Picture Stills Collection features a group of approximately 30,000 black and white photographs of movie stills, production shots, and portrait photographs of actors. The first half of this collection consists of these 8" x 10" photographs. -
San Francisco Silent Film Festival
True art transcends time. SAN FRANCISCO SILENT FILM FESTIVAL JULY 18–21, 2013 CASTRO THEATRE SAN FRANCISCO SILENT FILM FESTIVAL elcome to our 18th summer festival. The San Francisco Silent Film Festival is a nonprofit organization dedicated to educating the public about silent film as an art form and as a cul- turally valuable historical record. Throughout the year, SFSFF produces events that showcase important titles from the silent era, often in restored or preserved prints, with live musical accompaniment by someW of the world’s finest practitioners of the art of putting music to film. Each presentation exemplifies the extraordinary quality that Academy Award-winning film historian Kevin Brownlow calls “live cinema.” Silent-era filmmakers produced masterpieces that can seem breathtakingly modern. In a remarkably short time after the birth of movies, filmmakers developed all the techniques that made cinema its own art form. The only technique that eluded them was the ability to marry sound to the film print, but these films were never meant to be viewed in silence and it is often obvious that music was a part of the production as well as the exhibition. The absence of recording on the set, though, meant that the camera was free to move with a grace and ele- gance that allowed visual storytell- ing to flourish and made film more than just an adjunct to the stage. It is through these films that the world first came to love movies and learned how to appreciate them as art. They have influenced every generation of filmmakers and con- tinue to inspire audiences nearly a century after they were made. -
100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford.