Eugene O'neill Festival Returns
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Broadway Melody
BROADWAY MELODY: The beginning of Hollywood musicals This film review features a discussion on the relationship of film criticisms written at the time of the film’s release and others, which were written years later. 10 pages long. BROADWAY MELODY: The beginning of Hollywood musicals Broadway Melody's release on February 1, 1929 captures the attention of such issues as sound replacing silence and technology rather then the usual racial and political overtones like a lot of other genres. Most musicals had very simplistic plots: boy meets girl, boy loses girl, boy sings song, and boy gets girl. Although there was racial discrimination like the depiction of black speciality acts, such as the Nicholas Brothers and the Berry Brothers, as janitors etc., the story lines were none violent, free of political issues and always ended on a happy note pretty much until West Side Story. By 1960 the musical was but a thing of the past with only a few films a year. All this being said, it is important to understand the context of the genre in order to formulate criticism other then saying that the shots are simple and that the acting, in general, was lousy. As one analyses a musical such as Broadway Melody of 1929 one finds that the art of the movie musical is found in the star's ability to sing, act and dance effectively. By far the most frequent comment about Broadway Melody is that of it's relationship with Broadway and it's backstage on stage look at vaudeville performance, an activity that most of all the audiences of the 10's and 20's could relate to. -
Movie Store Collections- Includes Factory Download Service
Kaleidescape Movie Store Collections- Includes Factory Download Service. *Content Availability Subject to Change. Collection of 4K Ultra HD & 4K HDR Films Academy Award Winners- Best Picture Collection of Family Films Collection of Concerts Collection of Best Content from BBC Our Price $1,250* Our Price $1,450* Our Price $2,450* Our Price $625* Our Price $650* MSCOLL-UHD MSCOLL-BPW MSCOLL-FAM MSCOLL-CON MSCOLL-BBC 2001: A Space Odyssey 12 Years a Slave Abominable Adele: Live at the Royal Albert Hall Blue Planet II A Star Is Born A Beautiful Mind Aladdin Alicia Keys: VH1 Storytellers Doctor Who (Season 8) Alien A Man for All Seasons Alice in Wonderland Billy Joel: Live at Shea Stadium Doctor Who (Season 9) Apocalypse Now: Final Cut All About Eve April and the Extraordinary World Celine Dion: Taking Chances World Tour - The Concert Doctor Who (Season 10) Avengers: Endgame All Quiet on the Western Front Babe Eagles: Farewell 1 Tour — Live from Melbourne Doctor Who (Season 11) Avengers: Infinity War All the King's Men Back to the Future Elton John: The Million Dollar Piano Doctor Who Special 2012: The Snowmen Baby Driver Amadeus Back to the Future Part II Eric Clapton: Slowhand at 70 - Live at the Royal Albert Hall Doctor Who Special 2013: The Day of the Doctor Blade Runner 2049 American Beauty Back to the Future Part III Genesis: Three Sides Live Doctor Who Special 2013: The Time of the Doctor Blade Runner: The Final Cut An American in Paris Beauty and the Beast Hans Zimmer: Live in Prague Doctor Who Special 2014: Last Christmas Blue Planet II Annie Hall Cars INXS: Live Baby Live Doctor Who Special 2015: The Husbands of River Song Bohemian Rhapsody Argo Cars 2 Jackie Evancho: Dream with Me in Concert Doctor Who Special 2016: The Return of Doctor Mysterio Chinatown Around the World in 80 Days Cars 3 Jeff Beck: Performing This Week.. -
Films Winning 4 Or More Awards Without Winning Best Picture
FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963. -
Florenz Ziegfeld Jr
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ZIEGFELD GIRLS BEAUTY VERSUS TALENT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Theatre Arts By Cassandra Ristaino May 2012 The thesis of Cassandra Ristaino is approved: ______________________________________ __________________ Leigh Kennicott, Ph.D. Date ______________________________________ __________________ Christine A. Menzies, B.Ed., MFA Date ______________________________________ __________________ Ah-jeong Kim, Ph.D., Chair Date California State University, Northridge ii Dedication This thesis is dedicated to Jeremiah Ahern and my mother, Mary Hanlon for their endless support and encouragement. iii Acknowledgements First and foremost I would like to express my deepest gratitude to my thesis chair and graduate advisor Dr. Ah-Jeong Kim. Her patience, kindness, support and encouragement guided me to completing my degree and thesis with an improved understanding of who I am and what I can accomplish. This thesis would not have been possible without Professor Christine Menzies and Dr. Leigh Kennicott who guided me within the graduate program and served on my thesis committee with enthusiasm and care. Professor Menzies, I would like to thank for her genuine interest in my topic and her insight. Dr. Kennicott, I would like to thank for her expertise in my area of study and for her vigilant revisions. I am indebted to Oakwood Secondary School, particularly Dr. James Astman and Susan Schechtman. Without their support, encouragement and faith I would not have been able to accomplish this degree while maintaining and benefiting from my employment at Oakwood. I would like to thank my family for their continued support in all of my goals. -
One Night with Fanny Brice
The American Century Theater presents Audience Guide Edited by Jack MarshallNovember 5–27 Rosslyn Spectrum Theater you can afford to seesee———— ppplaysplays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. This arts event is made possible in part by the Virginia Commission on the Arts and the National Endowment for the Arts, as well as by many generous donors. -
Everything Began with the Movie Moulin Rouge (2001)
Introduction Everything began with the movie Moulin Rouge (2001). Since I was so obsessed with this hit film, I couldn’t but want to know more about this particular genre - musical films. Then I started to trace the history of this genre back to Hollywood’s classical musical films. It’s interesting that musical films have undergone several revivals and are usually regarded as the products of escapism. Watching those protagonists singing and dancing happily, the audience can daydream freely and forget about the cruel reality. What are the aesthetic artifices of this genre so enchanting that it always catches the eye of audience generation after generation? What kinds of ideal life do these musical films try to depict? Do they (musical films) merely escape from reality or, as a matter of fact, implicitly criticize the society? In regard to the musical films produced by Hollywood, what do they reflect the contemporary social, political or economic situations? To investigate these aspects, I start my research project on the Hollywood musical film genre from the 1950s (its Classical Period) to 2002. However, some people might wonder that among all those Hollywood movies, what is so special about the musical films that makes them distinguish from the other types of movies? On the one hand, the musical film genre indeed has several important contributions to the Hollywood industry, and its influence never wanes even until today. In need of specialty for musical film production, many talented professional dancers and singers thus get the chances to join in Hollywood and prove themselves as great actors (actresses), too. -
The Movies and Music of the 1930S the Depression Was a Tough Time for Families and Kids Since Money Was Scarce
The Movies and Music of the 1930s The depression was a tough time for families and kids since money was scarce. Even though this was the case and there were no television sets to watch, people managed by swimming in the canals, dancing at the Women’s Club for 25 cents, or going to the movies in Glendale. Here are the top movies that came out during the ’30s as well as the music that came out during this period. 1930 - Top Movies - Tom Sawyer, Top Hat, Animal Crackers, and Hell’s Angels Top Music “Happy Days Are Here Again” (Ben Selvin), “These Little Words” (Duke Ellington), “On the Sunny Side of the Street” (Ted Lewis and his Orchestra) 1931 – Top Movies – Frankenstein, City Lights, Mata Hari, Cimarron - Top Music - “Minnie the Moocher” (Cab Calloway), “Dream a Little Dream of Me” (Wayne King), “Goodnight Sweetheart” (Bing Crosby) 1932 - Top Movies – Tarzan the Ape Man, Trouble in Paradise, The Old Dark House. - Top Music – “All of Me” (Louis Armstrong), “It Don’t Mean a Thing” (Duke Ellington), “Night and Day” (Fred Astaire and Leo Raisman) 1933 - Top Movies – King Kong, 42ndStreet, Dinner at Eight, Sons of the Desert - Top Music – “Stormy Weather” (Ethel Waters), “Sophisticated Lady” (Duke Ellington) “We’re in the Money” (Dick Powell) 1934 - Top Movies – The Thin Man, Cleopatra, It Happened One Night - Top Music – “Moon Glow” (Benny Goodman), “Tumbling Tumbleweeds” (Paul Whitman), “Smoke Gets In Your Eyes” (Paul Whitman), “Cocktails for Two” (Duke Ellington) 1935 - Top Movies – Mutiny on the Bounty, Top Hat, Captain Blood, A Night At the Opera - Top Music – “On the Good Ship Lollipop” (Shirley Temple) “Cheek to Cheek” (Fred Astaire), “The Isle of Capri” (Ray Noble), “Lullaby of Broadway” (Blue Moon) 1936 - Top Movies – The Great Ziegfeld, Mr. -
Case 2:20-Cv-08465 Document 1-1 Filed 09/16/20 Page 1 of 43 Page ID #:303
Case 2:20-cv-08465 Document 1-1 Filed 09/16/20 Page 1 of 43 Page ID #:303 ATTACHMENT A-1 Asset Description: Promotional six sheet movie poster for the film “Modern Times” (“‘Modern Times’ Six Sheet”). Interested Parties: The persons and entities believed to have a potential interest in “Modern Times” Six Sheet are Riza Aziz and Red Granite Pictures. A-1 Case 2:20-cv-08465 Document 1-1 Filed 09/16/20 Page 2 of 43 Page ID #:304 ATTACHMENT A-2 Asset Description: Promotional six sheet movie poster for the film “King Kong” (“‘King Kong’ Six Sheet”). Interested Parties: The persons and entities believed to have a potential interest in “King Kong” Six Sheet are Riza Aziz and Red Granite Pictures. A-2 Case 2:20-cv-08465 Document 1-1 Filed 09/16/20 Page 3 of 43 Page ID #:305 ATTACHMENT A-3 Asset Description: Promotional one sheet movie poster for the film “Intolerance” (“‘Intolerance’ One Sheet”). Interested Parties: The persons and entities believed to have a potential interest in “Intolerance” One Sheet are Riza Aziz and Red Granite Pictures. A-3 Case 2:20-cv-08465 Document 1-1 Filed 09/16/20 Page 4 of 43 Page ID #:306 ATTACHMENT A-4 Asset Description: Promotional one sheet movie poster for the film “Wings” (“‘Wings’ One Sheet”). Interested Parties: The persons and entities believed to have a potential interest in “Wings” One Sheet are Riza Aziz and Red Granite Pictures. A-4 Case 2:20-cv-08465 Document 1-1 Filed 09/16/20 Page 5 of 43 Page ID #:307 ATTACHMENT A-5 Asset Description: Promotional one sheet movie poster for the film “Wings Talking” (“‘Wings Talking’ One Sheet”). -
Image of PR Practitioner in Movies and Television 1901-‐2011 1 The
Image of PR Practitioner in Movies and Television 1901-2011 1 The Image of the Public Relations Practitioner in Movies and Television 1901-2011 Joe Saltzman1 Professor of Journalism Director, The Image of the Journalist in Popular Culture (IJPC) A Project of the Norman Lear Center Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] Introduction In this article, we examine images of public relations practitioners in film and television appearing in more than 327 English-speaking films and television programs from 1901 to 2011.2 This is the largest study of its kind ever attempted and one of the first to include the image of the public relations practitioner in television programs. Many public relations practitioners believe the image of the publicist and the PR professional is one of the most negative in history. But this analysis indicates that the images of the PR practitioner are far more varied and even more positive than previously thought. Literature Review There have been previous studies on the image of the PR practitioner in film. They include Karen Miller’s landmark study in 1999 (which included film and print images),3 Larry Tavcar’s 1993 look at 17 films depicting public relations in the movies,4 Donn James Tilson’s brief look at public relations and Hollywood in 2003,5 and Carol Ames’ comprehensive follow-up to Miller’s study in 2010.6 In addition, Mordecai Lee studied images of the public relations practitioner in government and public administration, sampling 20 films from 1944 to 2000 in a 2001 study,7 and in a 2009 update8 added seven more films from 1996 to 2008. -
The Role of Hegemonic Masculinity and Hollywood in the New Korea
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2016 The oler of hegemonic masculinity and Hollywood in the New Korea Richard Howson University of Wollongong, [email protected] Brian Yecies University of Wollongong, [email protected] Publication Details Howson, R. & Yecies, B. (2016). The or le of hegemonic masculinity and Hollywood in the New Korea. Masculinities and Social Change, 5 (1), 52-69. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The oler of hegemonic masculinity and Hollywood in the New Korea Abstract We argue that during the 1940s Hollywood films had an important role to play in the creation of a postwar South Korean society based on the new global U.S. hegemony. The onnec ctions between political and economic change in South Korea and sociocultural factors have hitherto scarcely been explored and, in this context, we argue that one of the key socio-cultural mechanisms that supported and even drove social change in the immediate post-war period was the Korean film industry and its representation of masculinity. The groundbreaking work of Antonio Gramsci on hegemony is drawn on in particular, his understanding of the relationship between commonsense and good sense as well as Raewyn Connells concept of hegemonic masculinity. The character of Rick in the 1941 Hollywood classic Casablanca is used to illustrate the kind of hegemonic masculinity favoured by the U.S. Occupation authorities in moulding cultural and political attitudes in the new Korea. -
Musical Films
Musicals 42nd Street (NR) Damn Yankees (NR) 1776 (PG) A Date with Judy (NR) Across the Universe (PG-13) Deep in My Heart (NR) Alexander’s Ragtime Band (NR) De-Lovely (PG-13) All That Jazz (R) Dirty Dancing (PG-13) An American in Paris (NR) The Dolly Sisters (NR) Anchors Aweigh (NR) Dreamgirls (PG-13) Annie Get Your Gun (NR) Easter Parade (NR) The Band Wagon (NR) El Cantante (R) The Barkleys of Broadway (NR) Everyone Says I Love You (R) Begin Again (R) Evita (PG) Bells are Ringing (NR) The Fabulous Baker Boys (R) Bessie (TV-MA) Fame (1980 – R) Beyond the Sea (PG-13) Fame (2009 – PG) Blue Hawaii (PG) Fiddler on the Roof (G) The Blues Brothers (R) The Five Pennies (NR) Born to Dance (NR) Footloose (1984 – PG) Brigadoon (NR) Footloose (2011 – PG-13) The Broadway Melody (NR) For Me and My Gal (NR) Broadway Melody of 1936 (NR) Forever Plaid (G) Broadway Melody of 1938 (NR) Funny Face (NR) Broadway Melody of 1940 (NR) Funny Girl (G) Bye, Bye Birdie (G) A Funny Thing Happened on the Way to Cabaret (PG) the Forum (NR) Cadillac Records (R) The Gay Divorcee (NR) Calamity Jane (NR) Gentlemen Prefer Blondes (G) Camelot (G) Get On Up (PG-13) Carmen Jones (NR) Gigi (G) Carousel (NR) The Glenn Miller Story (NR) Chicago (PG-13) Going My Way (NR) Cinderella (NR) Good News (NR) Cover Girl (NR) Grease (PG) Crazy Heart (R) Grease 2 (PG) Grease Live! (TV14) Look for the Silver Lining (NR) The Great Ziegfeld (NR) Love & Mercy (PG-13) Guys and Dolls (NR) Love Me Tender (NR) Gypsy (NR) Love’s Labour’s Lost (PG) Hair (PG) Mamma Mia! (PG-13) Hairspray (PG) Meet Me in St. -
Singin' in the Rain in the Lalaland a Comparative Analysis of The
2020 2nd International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2020) Singin’ in the Rain in the Lalaland a Comparative Analysis of the Narratives in the Musical Film Chufan Huang School of Journalism and Communication, Sichuan International Studies University, Chongqing, China [email protected] Keywords: Musical films, Narratives, Comparative analysis, Narrative space Abstract: Singin’ in the rain as a turning point for a musical from a backstage musical to a narrative musical, its reputation is also unusual. As the representative of the second golden ages of film musical development, “narrative musical film”, is different from An American in Paris. the structure of the play also had the typical optimism that the film industry wanted to convey to the public at that time. It is not only a representative of contemporary Musical Films, but also a sign of returned peak of musical film. Singin’ in the rain and Lalaland have important meaning and turning significance in the development history of Musical Film. This article mainly based four angles of narrative theme, narrative space technology and camera language to discuss the change and the unchanged of narrative two films which nearly half a century apart. 1. Introduction In nearly a hundred years of development, musical films have gradually changed from backstage to narrative. Singin’ in the rain and LaLaLand, two masterpieces of narrative musical films in development of musical films that have important meaning and turning significance. This article mainly based four angles of narrative theme, space, language of camera and film technology to discuss the change and unchange of narrative two films which nearly half a century apart.