DOCSLIB.ORG

P-26 Motion Picture Collection Repository: Seaver Center For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and individuals including Eadweard Muybridge, C. Frances Jenkins, Thomas Armat and Thomas A. Edison. Items related to movie production include early laboratories, sound, lighting and make-up technology. Much of the collection, as well as other film collections in the Seaver Center, were acquired as a result of the efforts of Earl Theisen (1903-1973). He served as Honorary Curator of Theatrical Arts at the museum for a few years following 1931. Theisen was a technician at the Dunning Process Plant, a member of the Society of Motion Picture Engineers, and a member of the Society’s Historical Committee. The collection is arranged in four series. Series 1 through 3 comprise of individual donors, therefore most of the subseries are delineated by donor accession. In some instances a subseries is arranged topically rather than by donor, as in the case of the Tom Mix Collection. Series 4 are primarily items without accession numbering. Series 1: Pre-cinema, Early Cinema, Technology of Moving Pictures and Movie Production Series 2: Silent Film Era Series 3: Sound Film, or “Talkies” Era Series 4: General Stills. Stills, clippings and other items arranged by actor, actress, and movie title, along with a small assortment of montage and animal photographs. Boxes 2ov and 4ov are arranged by size. Series 1 Pre-Cinema, Early Cinema, Technology of Moving Pictures, and Movie Production 1.1 “Horses in Motion” project by Eadweard Muybridge, c. 1872- 1878. (Box 1: ½ letter) (map case) Motion Picture Collection 11/9/2016 2 of 9 Seaver Center for Western History Research P-26 1.2 “Animal Locomotion” plates by Eadweard Muybridge, 1887. (Box 8ov: 1 oversize) 1.3 Photostats, photographs and other images, 1881-1895, undated. (Box 2: ½ letter) 1.4 C. Francis Jenkins Collection, 1890-1929, undated. (Box 3: ½ legal) (see also related collection, Thomas Armat Collection) 1.5 Thomas Armat Collection, 1900-1935, undated. (Box 4: ½ legal) (see also related collection, C. Francis Jenkins Collection) 1.6 Vitagraph and Pre-Cinema, undated. [includes film specimen] (Box 5: ½ letter) 1.7 Aller Laboratories and Biograph, c. 1904-1921, undated. (Box 6: ½ letter) 1.8 Early camera technology, 1915-c.1929, undated. (Box 7: ½ letter; see also folders in Box 2ov) 1.9 Photograph transmission by wire, c. 1931. Series showing steps in photo transmission by wire. (Box 8: ½ letter) 1.10 Hypergonar experiments, c. 1927. Work on wide and narrow screens of the Hypergonar Lens. (Box 8: ½ letter) 1.11 Sound on film recording channels, 1929-1932, undated. (Box 9: ½ letter) (map case) 1.12 Early cinematography, 1912-1920, undated. Equipment catalogs, a few papers explaining the Packer process for animation. A few Kalem Company production stills of 1914 and 1915, a Kalem film frame and various publications. Tools of the cinematographer: a focus chart and a continuity book. (Box 11ov: 1 flat box) 1.13 Motion picture projectors, undated (Box 10: 1 letter) 1.14 Bell & Howell motion picture cameras, undated. (Box 11: 1 letter) 1.15 Motion picture cameras, arranged topically, undated. (Box 12: 1 letter) (map case) 1.16 Bell & Howell motion picture cameras, undated (Box 13: 1 letter) Motion Picture Collection 11/9/2016 3 of 9 Seaver Center for Western History Research P-26 1.17 Autographs (of movie celebrities), Laboratories, Props, Sets, Sound, Theaters, c. 1897-1971, undated (bulk is 1931) (Box 14: 1 letter) (map case) 1.18 Photo-Doubles, Hairstyles, Make-up, Manicure, 1933-1938, undated (Box 15: 1 letter) 1.19 Theaters, 1898-1900. Arthur St. Clair Perry was the proprietor of a motion picture theater in Ferndale, California. (Boxes 16-17: ½ letter; 1 5x7) (map case) 1.20 Theaters, 1915-1919, undated. Bulk of the collection consists of theater programs for Thomas Lincoln Tally’s Broadway Theatre. (Box 18: ½ letter) 1.21 Tally’s Theater Collection, 1890-1932, undated. This artificial collection has photographs, clippings, one postcard, programs, leaflets and a thick, handwritten index to articles and information about Thomas Lincoln Tally and his theaters, including Los Angeles and Texas-based theaters. A few items show the First Theater in Los Angeles, 1896. Box 19: 1 letter; see also folders in Box 2ov) 1.22 Set stills, unidentified, undated (Box 20: 1 letter) 1.23 Studios, two boxes: one arranged by studio name; a second, separate box for Famous Players, Lasky and Paramount Studios, 1888-1979, undated (Boxes 21-22: 1 letter; ½ letter) (map case 25) (above mapcases) 1.24 Camera operators, Directors, Producers, 1912-1976, undated. (Box 23: 1 letter) 1.25 Camera operators, c. 1915-1918. Jerry Erickson was a newsreel cameraman. Bulk of the stills were of Gaumont, a French silent newsreel company. (Box 24: ½ letter) 1.26 Camera operators, 1910-1918, undated. Cameramen, cameras, studios and set stills. (Box 25: ½ letter) 1.27 Camera operators, 1931-1933, bulk is 1932. Photos, news stills, telegrams and travel documents belonging to Mervyn Freeman, who was a newsreel cameraman. Most of the news stills are 1932 field photos made with Japanese soldiers in Shanghai. Freeman worked for Universal and later, Pathe News. (Box 26: ½ letter) Motion Picture Collection 11/9/2016 4 of 9 Seaver Center for Western History Research P-26 1.28 Title backgrounds, undated. Fifty title backgrounds for motion picture titles. Two photos illustrating the use of miniature figures. (Box 5ov: 1 oversize) 1.29 Warren Newcombe matte shots, silent film era to 1953, undated. Newcombe headed the matte department at MGM from the 1920 until 1957. Collection is mostly MGM, with some silent film productions and unidentified items. (Box 7ov: 1 flat box) 1.30 Positype photo reproduction process, c.1931. Examples of a photo reproduction process using Direx and Positype paper. (Box 27: 1 5x7; see also folders in Box 4ov) 1.31 Unidentified film stills, possibly for film(s) based on a Harold Bell Wright work (Boxes 28-29: 2 letter) 1.32 Unidentified stills (Boxes 30-34: 5 letter) 1.33 Unidentified oversized stills (Box 3Aov: 1 flat box) (map case) Series 2 Silent Film Era 2.1 [“Meanest Man in the World” (1923, Principal Pictures)], undated. Film stills of one of the earliest productions by Principal Pictures. (Boxes 35-38: 4 letter) 2.2 “Greed” (1924, MGM), 1923, undated. Set and location stills, with director Erich von Stroheim and actress Zasu Pitts shown. (Box 39: ½ legal) 2.3 Actor stills, undated. (Box 40: ½ letter) 2.4 Actor and film stills, 1913-1921, undated, including numerous unidentified photographs and film stills. (Boxes 41-42: 1 letter; ½ letter) (map case) 2.5 Stills of Sokal and Film d’Art companies; six film stills of Leni Riefenstahl, undated. (Box 43: ½ letter) 2.6 Biograph Studio set stills and Mutoscope cards, 1898-1913. (Box 44: ½ letter) 2.7 Douglas Fairbanks film stills, 1919-1929. (Box 45 and 3ov: 1 letter; 1 flat box) Motion Picture Collection 11/9/2016 5 of 9 Seaver Center for Western History Research P-26 2.8 Charles K. French actor and film stills, clippings, 1893-1920, undated. Includes cabinet cards and postcards of plays of French. French worked with Fred Balshofer at the New York Motion Picture Company (Box 46: ½ letter; see also folders in Box 4ov) 2.9 Actor stills, some with autographs, undated. (Box 47: ½ letter) 2.10 Actor and film stills and handbills, especially for the work of the donor at Kalem Studios, 1910-1918, undated. (Box 48: ½ letter; see also folders in Box 2ov) (map case) 2.11 Lubin Studios, 1911-1914. (Box 49: ½ letter) 2.12 Sigmund Lubin equipment catalog, 1900. (Box 49: ½ letter) 2.13 S. Lubin Company, 1897-c.1912. (Box 49: ½ letter) 2.14 Mack Sennett Bathing Beauties, undated. (Box 49: ½ letter) 2.15 Art stamp album of moving picture stars, 1914. (Box 49: ½ letter) 2.16 “The Fable of Lutie, the False Alarm” (1914, Essanay), 1914 and 1935.
Recommended publications
  • Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood

    Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood

    Those Slap-Happy Screamsters Go A’haunting! Saturday, October 23 at 2 & 8 pm only Abbott and Costello’s Hold That Ghost In late 1941 Milton Berle was said to have quipped, "Things are slow in Hollywood. Abbott and Costello haven't made a picture all day." And he was right. fter the smash success of their first starring feature,Buck Privates, (1941) burlesque and Aradio comics Bud Abbott and Lou Costello were the number one box office attraction in the country--and literally saved Universal Studios from bankruptcy. In fact, the only movie that outgrossed Buck Privates at the time was Gone with the Wind. Anxious to keep the team working, Universal Studios had already completed production on their next film, a non-music spoof of two popular film genres of the era--the Haunted House movie and Gangster melodrama--then titled Oh Charlie! (a reference to a running gag in the film where a dead gangster's body keeps turning up). But when the huge box office returns fromBuck Privates began rolling in, Universal temporarily shelved Oh Charlie! to put the team in an- other service themed follow-up, In the Navy. When they returned to Oh Charlie! , Universal discovered test audiences for the film wondered why the Andrews Sisters, who had been in the two previous hits, were absent in this one. So additional re-shoots were required to include the trio, now making it a horror/ comedy, with a couple of songs thrown in. The title was eventually changed to Hold That Ghost and became the third smash hit for Abbott and Costello that year, continuing a string of successes that would keep them among the top box office attractions for the next ten years and would also serve as the inspiration for another classic, 1948's Abbott and Costello Meet Frankenstein.
  • Who's on First 

    Who's on First 

    ABBOTT & COSTELLO WHO’S ON FIRST? "Who's on First?" is descended from turn-of-the-century burlesque sketches like "The Baker Scene" (the shop is located on Watt Street) and "Who Died" (the owner is named Who). In England, in the variety halls (Britain's equivalent of vaudeville theatres), comedian Will Hay performed a routine in the early 1930s (and possibly earlier) as a schoolmaster interviewing a schoolboy named Howe who came from Ware but now lives in Wye. By the early 1930s, a "Baseball Routine" had become a standard bit for burlesque comics across the United States of America[citation needed]. Abbott and Costello honed the sketch, using the nicknames of then-contemporary baseball players like Dizzy and Daffy Dean (and their alleged French cousin, "Goofé") to set up the premise. In 1938 burlesque producer John Grant, working with Abbott and Costello, asked Will Glickman, a staff writer on The Kate Smith Hour radio show, to sharpen and amplify the Baseball Routine for performance on the show. This version, with extensive wordplay based on the names of contemporary baseball players, became known as "Who's on First?" By 1944, Abbott and Costello had the routine copyrighted. Abbott and Costello performed "Who's on First?" numerous times in their careers, rarely performing it the same way twice. Once, they did the routine at President Roosevelt's request. The routine was featured in the team's 1940 film debut, One Night in the Tropics. The duo reprised the bit in their 1945 film The Naughty Nineties, and it is that version which is considered their finest recorded rendition.
  • 31 Days of Oscar® 2010 Schedule

    31 Days of Oscar® 2010 Schedule

    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
  • HOLLYWOOD – the Big Five Production Distribution Exhibition

    HOLLYWOOD – the Big Five Production Distribution Exhibition

    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
  • Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951

    Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951

    Tob Control: first published as 10.1136/tc.2008.025445 on 25 September 2008. Downloaded from Research paper Signed, sealed and delivered: ‘‘big tobacco’’ in Hollywood, 1927–1951 K L Lum,1 J R Polansky,2 R K Jackler,3 S A Glantz4 1 Center for Tobacco Control ABSTRACT experts call for the film industry to eliminate Research and Education, Objective: Smoking in movies is associated with smoking from future movies accessible to youth,6 University of California, San Francisco, California, USA; adolescent and young adult smoking initiation. Public defenders of the status quo argue that smoking has 10 2 Onbeyond LLC, Fairfax, health efforts to eliminate smoking from films accessible been prominent on screen since the silent film era California, USA; 3 Department of to youth have been countered by defenders of the status and that tobacco imagery is integral to the artistry Otolaryngology – Head & Neck quo, who associate tobacco imagery in ‘‘classic’’ movies of American film, citing ‘‘classic’’ smoking scenes Surgery, Stanford University with artistry and nostalgia. The present work explores the in such films as Casablanca (1942) and Now, School of Medicine, Stanford, 11–13 California, USA; 4 Center for mutually beneficial commercial collaborations between Voyager (1942). This argument does not con- Tobacco Control Research and the tobacco companies and major motion picture studios sider the possible effects of commercial relation- Education and Department of from the late 1920s through the 1940s. ships between the motion picture and tobacco Medicine,
  • Papéis Normativos E Práticas Sociais

    Papéis Normativos E Práticas Sociais

    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
  • Cecil B. Demille's Greatest Authenticity Lapse?

    Cecil B. Demille's Greatest Authenticity Lapse?

    Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No

    ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No

    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante

    In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante

    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013

    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013

    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
  • Aspects of Film Noir: Alan Ladd in the 40'S

    Aspects of Film Noir: Alan Ladd in the 40'S

    The Museum of Modern Art 50th Anniversary NO. 38 •JO RELEASE ON OR BEFORE JULY 11, 1980 "ASPECTS OF FILM NOIR: ALAN LAPP IN THE 40*5" OPENS AT MoMA ON JULY 11, 1980 A series of four important Alan Ladd films forms ASPECTS OF FILM NOIR: ALAN LADD IN THE 40'S, an exhibition running from July 11 through July 15, 1980 at The Museum of Modern Art. To be shown in the series are: THIS GUN FOR HIRE, Ladd's first starring role; THE GLASS KEY; THE BLUE DAHLIA; and the 1949 Paramount production of the F. Scott Fitzgerald classic, THE GREAT GATSBY. The films will be shown in 35mm studio prints made available by Universal/MCA and the UCLA Film Archives. Notes from The Museum's Department of Film indicate that "During the 1940's Hollywood studios produced a large number of crime melodramas whose stylistic con­ sistency has since been given the name of 'Film Noir'. These shadowy and urbane films not only commanded consummate studio craftsmanship, but enabled a charismatic group of performers to express the tensions that provided the thematic content for the 'Film Noir'. At Paramount Pictures during the 1940's perhaps the emblematic figure of the 'Film Noir' was Alan Ladd." The series opens with THIS GUN FOR HIRE at 8:30 PM on Friday, July 11 (to be repeated at 6 PM on Sunday, July 13). The film was directed by Frank Tuttle in 1942 with Ladd, Veronica Lake and Robert Preston and runs 81 minutes. THIS GUN FOR HIRE was the film that launched Ladd's career.
  • Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012

    Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012

    Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs.