Brooklyn Movies | Ursula C. Schwerin Library

Total Page:16

File Type:pdf, Size:1020Kb

Brooklyn Movies | Ursula C. Schwerin Library Search this site: Search Home Research Tools Services Research Help News About Links Home » News » Library Exhibits » Exhibit Archiv es » Brooklyn Mov ies News Brooklyn Movies Brooklyn History Exhibit Brooklyn Movies Focus of City Tech Library Display through August 30 Black History Month 2009 Brooklyn, NY -- June 26, 2006 -- Motion pictures either made in or about the borough of Brooklyn are the focus of a summertime display at the Ursula C. Schwerin Library of New York City College of Technology (City Tech), Lionel Trains Exibit Atrium Building, 4th floor, 300 Jay Street (at Tillary) in Downtown Brooklyn, from now until August 30, 2006. The Photography Of The exhibit includes facsimiles of posters, lobby cards and photographs of Brooklyn movies from the personal Barbara Kitai collection of City Tech alumnus Ron Schweiger '64, who is the historian of the Borough of Brooklyn. Mr. Schweiger graduated from the College with an associate degree in hotel technology. The September Project The posters spotlight such films as It Happened in Flatbush (about baseball in Brooklyn) and It Happened in Brooklyn, starring a young Frank Sinatra. Another highlight of the display is an original large poster The Photography Of (autographed by filmmaker Morris Engel) for the 1953 film, The Little Fugitive, which was shot on location in Professor Carole K. Harris Coney Island. Rounding out the exhibit are books and multimedia items from the collection of the Schwerin Library. 125th Anniversary Of The Brooklyn Bridge Library hours are: July 5-6, July 10-August 11: Mondays through Thursdays, 9 a.m. to 8 p.m. Living Off The Land In Closed on Fridays, except for July 7 (open 9 a.m. to 5 p.m.) Space August 14-30, Mondays through Fridays, 9 a.m. to 5 p.m. For more information, please call Morris Hounion at 718.260.5491. City Tech 60th Anniversary open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com 'Brooklyn's Movie Posters' Through August 30, 2006 The History Of Blacks In July 5-6, July 10-August 11: Mondays through Thursdays, 9 a.m. to 8 p.m. Sports Closed on Fridays, except for July 7 (open 9 a.m. to 5 p.m.) August 14-30: Mondays through Fridays, 9 a.m. to 5 p.m. Second Annual Quilting New York City College of Technology Project Ursula C. Schwerin Library 300 Jay Street (at Tillary) Atrium Building, 4th floor display cases Downtown Brooklyn Black Women's Quilting 718.260.5491 Project Related: New York: City Of Books They Shot It In Bklyn Back to exhibits archives Activism And Repression Freedom To Read Brooklyn Movies Daniel Libeskind 9/11 Memorial Exhibit Fostering Visibility Celebrating Black Humanities We Built New York Celebrating Italian- open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com American Month Designing For The 21st Century Blacks In The Health Professions Contact | Mobile Version | City Tech Homepage | Campus Email | Sitemap | Comments Ursula C. Schwerin Library New York City College of Technology of the City University of New York Circulation: 718.260.5470 Reference: 718.260.5485 300 Jay Street, Brooklyn, NY 11201 Privacy Policy open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com.
Recommended publications
  • Coney Island: Visions of an American Dreamland, 1861–2008 Jan
    Coney Island: Visions of an American Dreamland, 1861–2008 Jan. 31 – May 31, 2015 Exhibition Checklist DOWN AT CONEY ISLE, 1861-94 1. Sanford Robinson Gifford The Beach at Coney Island, 1866 Oil on canvas 10 x 20 inches Courtesy of Jonathan Boos 2. Francis Augustus Silva Schooner "Progress" Wrecked at Coney Island, July 4, 1874, 1875 Oil on canvas 20 x 38 1/4 inches Manoogian Collection, Michigan 3. John Mackie Falconer Coney Island Huts, 1879 Oil on paper board 9 5/8 x 13 3/4 inches Brooklyn Historical Society, M1974.167 4. Samuel S. Carr Beach Scene, c. 1879 Oil on canvas 12 x 20 inches Smith College Museum of Art, Northampton, Massachusetts, Bequest of Annie Swan Coburn (Mrs. Lewis Larned Coburn), 1934:3-10 5. Samuel S. Carr Beach Scene with Acrobats, c. 1879-81 Oil on canvas 6 x 9 inches Collection Max N. Berry, Washington, D.C. 6. William Merritt Chase At the Shore, c. 1884 Oil on canvas 22 1/4 x 34 1/4 inches Private Collection Wadsworth Atheneum Museum of Art Page 1 of 19 Exhibition Checklist, Coney Island: Visions of an American Dreamland, 1861 – 2008 12-15-14-ay 7. John Henry Twachtman Dunes Back of Coney Island, c. 1880 Oil on canvas 13 7/8 x 19 7/8 inches Frye Art Museum, Seattle, 1956.010 8. William Merritt Chase Landscape, near Coney Island, c. 1886 Oil on panel 8 1/8 x 12 5/8 inches The Hyde Collection, Glens Falls, N.Y., Gift of Mary H. Beeman to the Pruyn Family Collection, 1995.12.7 9.
    [Show full text]
  • The Radical Camera: New York's Photo League, 1936-1951 a N ED
    The Jewish Museum TheJewishMuseum.org 1109 Fifth Avenue [email protected] AN EDUCATOR’S RESOURCE New York, NY 10128 212.423.5200 Under the auspices of The Jewish Theological Seminary teachers. These materials can be used to supplement and enhance enhance and supplement to used be can materials These teachers. students’ ongoing studies. This resource was developed for elementary, middle, and high school school high and middle, elementary, for developed was resource This 1936-1951 New York’s Photo League, York’s New The Camera: Radical Acknowledgments This educator resource was written by Lisa Libicki, edited by Michaelyn Mitchell, and designed by Olya Domoradova. At The Jewish Museum, Nelly Silagy Benedek, Director of Education; Michelle Sammons, Educational Resources Coordinator; and Hannah Krafcik, Marketing Assistant, facilitated the project’s production. Special thanks to Dara Cohen-Vasquez, Senior Manager of School Programs and Outreach; Mason Klein, Curator; and Roger Kamholz, Marketing Editorial Manager, for providing valuable input. These curriculum materials were inspired by the exhibition The Radical Camera: New York’s Photo League, 1936-1951 on view at The Jewish Museum November 4, 2011–March 25, 2012. This resource is made possible by a generous grant from the Kekst Family. PHOTO LEAGUE: an EDUCator’S guIDE ACKNOWLEDGMENTS 2 Introduction Overview members were inspired by this social climate to make inequity and discrimination a subject of their work. The Photo League was a New York City–based organization of professional and amateur photographers. A splinter group The early 1940s witnessed the country’s rapid transition from of the Film and Photo League, it was founded in 1936 by New Deal recovery to war mobilization.
    [Show full text]
  • NY, NY: a Century of City Symphony Films
    1<1<$&HQWXU\RI&LW\6\PSKRQ\)LOPV -RQ*DUWHQEHUJ$OH[:HVWKHOOH Framework: The Journal of Cinema and Media, Volume 55, Number 2, Fall 2014, pp. 248-276 (Article) 3XEOLVKHGE\:D\QH6WDWH8QLYHUVLW\3UHVV DOI: 10.1353/frm.2014.0013 For additional information about this article http://muse.jhu.edu/journals/frm/summary/v055/55.2.gartenberg.html Access provided by University of British Columbia Library (12 Nov 2014 16:21 GMT) ESSAY NY, NY: A Century of City Symphony Films Jon Gartenberg New York City has always been a center of the motion picture industry. Since the dawn of the twentieth century, independent and experimental artists, as well as commercial filmmakers, have paid tribute to the dynamically changing landscape of New York City. Th e filmmakers have employed diverse stylistic approaches to express both the formal beauty inherent in the city’s architecture and the rhythmic energy of its people. Photographed during both day and night, through distorting mirrors and prisms, as well as by more direct photographic methods, the films include scenes filmed from atop skyscrapers, under bridges, through parks, down Broadway, and in Coney Island. Such motion pictures have come to be identified as “city symphony” films. In cinematic terms, such works represent the articulation of both a defined time frame (most oft en from morning until evening) as well as a carefully articulated geographic space (e.g., a loft apartment, a city block, the length of the island of Manhattan). Rather than off ering a comprehensive listing of all city symphony films made in New York, this article endeavors to define the framework for thinking about such motion pictures from an enlarged perspective, encom- passing a variety of genres (early cinema, documentary, experimental, animation, independent, political films, etc.).
    [Show full text]
  • John Cassavetes
    Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on
    [Show full text]
  • February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 Min.)
    February 26, 2019 (XXXVIII:5) Jean-Luc Godard: BREATHLESS/À BOUT DE SOUFFLE (1960, 90 min.) DIRECTED BY Jean-Luc Godard WRITING François Truffaut and Claude Chabrol (original scenario), Jean-Luc Godard (screenplay) PRODUCER Georges de Beauregard MUSIC Martial Solal CINEMATOGRAPHY Raoul Coutard FILM EDITING Cécile Decugis CAST Jean Seberg...Patricia Franchini Jean-Paul Belmondo...Michel Poiccard / Laszlo Kovacs Daniel Boulanger...Police Inspector Vital Henri-Jacques Huet...Antonio Berrutti Roger Hanin...Carl Zubart Van Doude...Himself Claude Mansard...Claudius Mansard play of shot-reverse shot' used in many Hollywood productions” Liliane Dreyfus...Liliane / Minouche (as Liliane David) (NewWaveFilm.com). In the article, Godard “praised the use of Michel Fabre...Police Inspector #2 shot-reverse shot as crucial to conveying a character’s mental Jean-Pierre Melville...Parvulesco the Writer point of view and their inner life.” In 1956, after returning to Jean-Luc Godard...The Snitch Paris from Switzerland and making his first two films, Godard Richard Balducci...Tolmatchoff returned to find that Cahiers du cinema, led by Francois Truffaut, André S. Labarthe...Journalist at Orly had become the leading film publication in France. Godard François Moreuil...Journalist at Orly would once again join the fray of French film enthusiasts championing the techniques of Hollywood auteurs like JEAN-LUC GODARD (b. December 3, 1930 in Paris, France) Hitchcock and Hawks, contributing articles “on some of his once said “All great fiction films tend toward documentary, just favorite auteurs such as Otto Preminger and Nicholas Ray” and as all great documentaries tend toward fiction.” Godard began his continuing “his theoretical debate with André Bazin” who film career with a short, which he directed, wrote, edited, acted “continued to commend the long take for its approximation to in, and did cinematography for.
    [Show full text]
  • Film List: Independent Film: for Love Not Money. All of the Below Films
    Film List: Independent Film: For Love Not Money. All of the below films are available to view free on You Tube: • Workers Leaving the Factory (1885, Dir: Louis and Auguste Lumière) • Meshes of the Afternoon (1943, Dir: M. Deren ) • Fireworks (1943, Dir: Kenneth Anger) • Fear and Desire (1952, Dir: Stanley Kubrick) • Killer’s Kiss (1955, Dir; Stanley Kubrick) • Little Fugitive (1955, Dirs: Ray Ashley, Morris Engel & Ruth Orkin) • Five Guns West (1955, Dir; Roger Corman) • Dementia 13 (1963, Dir: Francis Coppola) All the films below are available on DVD and/or Blu Ray (Amazon) Easy Rider (1969, Dir: Dennis Hopper) Sweet Sweetback’s Baaadasssss Song (1971, Dir: Melvin Van Peeples) THX 1138 (1971; Dir: George Lucas) Last House on the Left (1972, Dir: Wes Craven) Black Christmas (1974, Dir: Bob Clark) Dark Star (1973, Dir: John Carpenter) Texas Chain Saw Massacre (1974, Dir: Tobe Hooper) The Godfather (1972, Dir: Francis Coppola) The Conversation (1974, Dir: Francis Coppola) Jaws (1975, Dir: Steven Spielberg) Star Wars (1977, Dir: George Lucas) Grand Theft Auto (1977, Dir: Ron Howard) Mad Max (1978, Dir: George Miller) Rabid (1978, Dir: David Cronenberg) Piranha 2: The Spawning (1981, Dir: James Cameron) The Evil Dead (1981, Dir: Sam Raimi) Blood Simple (1984, Dir: Joel Coen & Ethan Coen) Brother From Another Planet (1984, Dir: John Sayles) Repo Man (1984, Dir: Alex Cox) She’s Gotta Have It (1986, Dir: Spike Lee) Bad Taste (1989, Dir: Peter Jackson Roger And Me (1989, Dir: Michael Moore) Sex Lies and videotape (1991, Dir: Steven Soderbergh)
    [Show full text]
  • A Snapshot of Independent Film History a Snapshot Of
    AA SNAPSHOTSNAPSHOT OFOF INDEPENDENTINDEPENDENT FILMFILM HISTORYHISTORY QUICK TAKES ON 100 YEARS OF UPSTART FILMMAKING 1900 1908 The Motion Picture Patents Company forms Edison Trust, creating a stronghold of lm production and distribution for the major lm companies. Those who decline entry become known as “independent.” 1910 1914 Mentored by pioneering French director Alice Guy-Blaché, Lois Weber becomes the rst U.S. woman to direct a full-length feature lm with The Merchant of Venice. 1918 A leading member of the Harlem Renaissance movement, Oscar Micheaux produces his rst lm, The Homesteader. He is later regarded as the rst major African-American feature lmmaker, having 1919 independently produced more than 44 lms Fed up with the restrictions of the major studios, throughout his career. four of the leading gures in silent lm, including Charlie Chaplin, Douglas Fairbanks, D.W. Grith and Mary Pickford, form United Artists, the rst independent studio in America. 1920 1922 Robert Flaherty directs and produces Nanook of the North, later considered the rst feature-length documentary. 1930 1935 David O. Selznick resigns from MGM to establish his own independent company, 1939 Selznick International Pictures. The top grossing Gone with the Wind is the most expensive independently produced lm of the decade, costing $4.25 million. 1940 1940 Experimental lmmakers Maya Deren (Meshes of the Aernoon), Kenneth Anger (Fireworks) and James Broughton (The Pleasure Garden) pioneer the American underground cinema movement. 1950 1953 Little Fugitive, directed by Ray Ashley, Morris Engel and Ruth Orkin, becomes the rst independent lm to be nominated for the Academy Award for Best 1959 Original Screenplay.
    [Show full text]
  • Continuity of Purpose: a Photographic Legacy from Ruth Orkin to Her Daughter
    Explora › Photography › Features › Continuity of Purpose: A Photographic Legacy ... Continuity of Purpose: A Photographic Legacy from Ruth Orkin to Her Daughter By Jill Waterman | 4 months ago 6 11 Save 4 photographer’s gift is to record his or her encounters with the world in pictures. If that photographer meets with success, pictures from their archive are published in magazines and books, exhibited in museums and galleries, A licensed for commercial use, and sold as prints. With careful planning, these images have a life that endures well beyond that of the artist, through the continuing e!orts of a legacy keeper. Such is the relationship between the trailblazing work of 20th-Century photographer Ruth Orkin and the ongoing endeavors of her daughter, Mary Engel, who inherited Orkin’s archive in 1985. “It's a wonderful legacy, but a huge responsibility, and 35 years later that still rings true,” says Engel of her e!orts. “My job, generally, is to keep the work out there, and that's why I do what I do.” Photographs © Ruth Orkin Photo Archive Enduring Mother-Daughter Bond Engel was only 23 when her mother died after a long battle with cancer. Although she was closely involved in various aspects of Orkin’s photo career throughout her formative years, Engel says, “Obviously I was in school most of the time, but I was always helping her to an extent with the photos, or with slides, or with invoices. We lived in a two-bedroom ! Chat apartment, and she had a lot of her work in her room.
    [Show full text]
  • Film and Video Autumn 1984
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART #25 FOR IMMEDIATE RELEASE FILM AND VIDEO AUTUMN 1984 *****BRITISH FILM***** Opening As the inaugural exhibition in the newly re-opened Roy and Niuta October 26 Titus Theater 1, the Department of Film will present the largest, most comprehensive retrospective ever mounted of British cinema. This two-part series is presented in collaboration with the National Film Archive of the British Film Institute and sponsored by Gold- crest Films and Television, Ltd., London. Part One, "Michael Balcon & Associates: The Pursuit of British Cinema," will run through February 1985; it is made possible through the co-operation of Thorn EMI Screen Entertainment. Part Two, a thematic survey of traditions of British filmmaking, encompassing both feature films and short works, documentaries, and animation, will last into 1986. Advance Schedule 1 age 2 BRITISH ADVERTISING BROADCAST AWARDS 1984 Many of the best-made and wittiest advertising films and videot today are being made in Britain. Since 1976, the British Adver s tising Broadcast Awards Limited (BABA), an organization of incju" professionals, has annually selected the finest advertising f]]l^ in various categories; this program presents the 1984 winners in\ format. The exhibition has been made possible through the CO-OD tion of Tony Solomon and Peter Bigg, BABA's chairman and administ tor, and Barry Day of McCann-Erickson Worldwide, New York. ra* SIX PORTUGUESE CLASSICS: 1933-1974 An introduction to a long-neglected tradition of filmmaking, this program features the first sound film produced in its entirety in Portugal (The Song of Lisbon) as well as Brandos Costumes, the work commonly held to have inaugurated the new Portuguese cinema (present* here in 1976 in NEW DIRECTORS/NEW FILMS).
    [Show full text]
  • The Essential New York City Films
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 The Essential New York City Films Nikola M. Durkovic The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2751 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE ESSENTIAL NEW YORK CITY FILMS by NIKOLA DURKOVIC A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2018 © 2018 NIKOLA DURKOVIC All Rights Reserved ii The Essential New York City Films by Nikola Durkovic This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date William Boddy Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Essential New York City Films by Nikola Durkovic Advisor: Professor William Boddy Films play significant part in the creation and preservation of the New York City’s image and must be consulted by anyone interested in exploring the City’s history and character. The essential New York films tell stories about New Yorkers and how they deal with their reality of extreme diversity and competition. In my opinion, there are six essential New York City films: Shadows (1959), The Panic in Needle Park (1971), Mean Streets (1973), Taxi Driver (1976), Manhattan (1979), and 25th Hour (2002).
    [Show full text]
  • Spring 2014 Film Calendar
    Film Spring 2014 Film Spring 2014 National Gallery of Art with American University School of Communication Introduction 5 Schedule 7 Special Events 11 Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960 – 1990 15 Independent of Reality: Films of Jan Němec 21 Hard Thawing: Experimental Film and Video from Finland 23 Martin Scorsese Presents: Masterpieces of Polish Cinema 27 On the Street 33 Index 36 Divjad (City Scene/Country Scene) p18 Cover: A Short Film about Killing p29 Celebrating the rich and bold heritage of Czech, Finnish, and Polish cinema this season, the National Gallery of Art presents four film series in collaboration with international curators, historians, and archives. Organized by the National Gallery of Art, Artists, Amateurs, Alternative Spaces: Experi- mental Cinema in Eastern Europe, 1960 – 1990 gathers more than sixty rarely screened films that reflect nonconformist sensibilities active in former USSR-occupied states. Inde- pendent of Reality: Films of Jan Němec is the first complete retrospective in the United States of the Czech director’s fea- ture films, assembled by independent curator Irena Kovarova, and presented jointly with the American Film Institute (AFI). Hard Thawing — Experimental Film and Video from Finland is a two-part event presenting a view of Finnish artistic practice seldom seen in North America. Martin Scorsese Presents: Masterpieces of Polish Cinema, a retrospective of the modern cinema of Poland from 1956 through 1989, brings together twenty-one films selected by Scorsese, shown in collabora- tion with Di-Factory and Milestone Film and presented jointly by the Gallery and the AFI. Other screening events include a ciné-concert with Alloy Orchestra, two screenings of Ingmar Bergman’s The Magic Flute shown in conjunction with the Washington National Opera’s production of Mozart’s opera, and artist Bill Morrison’s latest work, The Great Flood.
    [Show full text]
  • Photographs?Photographs? the American Photography Archives Group Offers Some Insights
    FL_09_APAG_F.qxp 9/22/09 4:05 PM Page 17 [ CONSULTANTS CORNER] BY MARY ENGEL WHATWHAT TOTO DODO WITHWITH ALLALL THETHE PHOTOGRAPHS?PHOTOGRAPHS? THE AMERICAN PHOTOGRAPHY ARCHIVES GROUP OFFERS SOME INSIGHTS he responsibility of handling a photographer’s archive is huge. TIt is a big decision for someone to become responsible for an artist’s life work, and it is extremely impor- tant to understand how much is really involved in the business end of this type of endeavor. Many issues aren’t necessarily evident in the beginning but become apparent over time. INHERITING MY MOTHER’S PHOTOGRAPHY ARCHIVE I inherited my mother, photographer Ruth Orkin’s, archive when I was just out of college. There has been a great satisfaction for me in keeping her name in the public eye, and having people continue to see and appreciate her Ruth Orkin’s classic American Girl in Italy, 1951, is internationally known, but it still takes a great deal of work to work; however, managing all the details keep her archive viable. Orkin’s daughter, Mary Engel, founded the American Photography Archives Group (APAG) as a resource organization to help others who own or manage a privately-held photography archive. involved comes with a lot of work. > m Even with someone like my mother—who achieved recognition during grown up, which he had lived in for 50 years. I had to come up with o c . o her lifetime with numerous awards, exhibitions, books and an interna- a new system to organize his photographs for easy retrieval. Also, his t o h tionally known image, American Girl in Italy, to her credit—a lot of con- filing system was to keep files by year, but with all materials mixed in p n i k stant promotion still needs to be done to make the archive viable.
    [Show full text]