DOCSLIB.ORG

Gilbert Emery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gilbert Emery GILBERT EMERY AUSTRALIAN VARIETY THEATRE ARCHIVE: RESEARCH NOTES See last page for citation, copyright and last updated details. aka Gilbert Warren-Emery / Gilbert H. Emery (1882-1934) Stage and film actor, variety entertainer, writer, teacher. [Born Gilbert Charles Warren Emery] Best remembered for his portrayal of Ginger Mick in the films The Sentimental Bloke (1919) and Ginger Mick (1920), Gilbert Emery began his theatrical career as a variety artist in the early 1900s. His first known stage appearance (as a descriptive vocalist) was on the bill of a sacred and rational concert at King's Theatre, Fremantle (Western Australia) in September 1906. Over the next 15 years he worked in both vaudeville and "legitimate" theatre (notably with Meynell-Gunn, and Philip Lytton), and made his feature film debut in 1911. Emery moved to Los Angeles in 1921 and was later employed as a teacher at an acting school. He remained in the USA for the rest of his life. • In early 1935 a number of Australian newspapers erroneously recorded that Emery and actor/comedian Walter Cornock had died on the same day. This has since been replicated in various secondary sources. Cornock's death occurred in Sydney on 28 January 1935, while Emery passed away in Los Angeles on Christmas Eve, 1934. [See below for further details] • Emery appears to have used the middle initial "H." during his time with Meynell and Gunn. • Not to be confused with American-born actor Gilbert Emery (1875 - 1945). Born Gilbert Emery Bensley Pottle, he appeared in more than 80 films between 1921 and his death. Plays and Sketches written by Emery 1908: The Country's in a Dreadful State (one act comedy) • The Path of Love (dramatic sketch) Film Credits 1911: A Tale of the Australian Bush 1919: The Face at the Window • Desert Gold • The Sentimental Bloke 1920: Ginger Mick 1921: Rudd's New Selection • While the Billy Boils • The Lust for Gold 1922: A Rough Passage • A Daughter of Australia L-R: Gilbert Emery (Ginger Mick) with Arthur Tauchert (Bill "the Bloke") Eric Reade. Australian Screen. 1975, 94 Source: Screening the Past NB: The research notes below focus largely on Emery's career in variety. See Trove for further details regarding his dramatic and film careers. 1906 - 1907 1906 West Australian (Perth) 22 Sept. 1906, 7. http://trove.nla.gov.au/ndp/del/page/2564714 West Australian (Perth) 22 Sept. 1906, 1. 1907 Age (Melbourne) 1 Apr. 1907, 9. http://trove.nla.gov.au/newspaper/article/196160218 1908 Kerang New Times (Vic) 3 Jan. 1908, 5. http://nla.gov.au/nla.news-article221839973 http://trove.nla.gov.au/ndp/del/page/3023806 Punch (Melbourne) 24 Sept. 1908, 18. "Touchstone." "Greenroom Gossip." Punch (Melbourne) 3 Dec. 1908, 34. http://nla.gov.au/nla.news-article176021071 1909 Hobart Daily Telegraph (Launceston) 24 July 1909, 8. Daily Post (Hobart) 22 June 1909, 7. http://nla.gov.au/nla.news-article187875026 Daily Telegraph (Launceston) 22 Oct. 1909, 8. http://trove.nla.gov.au/ndp/del/page/18413438 1910 Northern Star (Lismore, NSW) 26 Aug. 1910, 2. http://trove.nla.gov.au/ndp/del/article/72254002 1920 Newcastle Morning Herald and Miners' Advocate (NSW) 22 July 1920, 6. http://trove.nla.gov.au/ndp/del/page/15200179 Forbes Advocate (NSW) 28 Sept. 1920, 2. http://trove.nla.gov.au/ndp/del/page/10557546 1921 http://trove.nla.gov.au/newspaper/page/1244661 1935 Dubbo Liberal and Macquarie Advocate (NSW) 31 Jan. 1935, 2. http://trove.nla.gov.au/ndp/del/page/14988136 Newcastle Sun (NSW) 29 Jan. 1935, 7. http://trove.nla.gov.au/ndp/del/page/16057984 Erroneous Death Notices Argus (Melbourne) 1 Feb. 1935, 12. http://trove.nla.gov.au/ndp/del/article/11011742 Advertiser (Adelaide) 1 Feb. 1935, 14. http://trove.nla.gov.au/ndp/del/page/7295929 Australian Variety Theatre Archive: Research Notes Published by Clay Djubal: 11/06 /2016 • Last updated: 8/05/2018 NB: The URL for this PDF will change each time it is updated. If you wish to link to this record please use the following: Australian Variety Theatre Archive • http://ozvta.com/practitioners-e/ The information within these pages should be considered a snapshot only. Its purpose is to serve as a basis for further investigation and as a repository for online references that may eventually disappear. Any works snagged or transcribed from other sources remain the copyright of their respective authors/publishers. The authorship and/or original publication details are provided and these should be cited (not the AVTA).* New information is continuously being made available as more newspapers are digitised by Trove (Australian National Library Digitised Newspapers resource) * Materials published in this entry will be removed if requested by the copyright owner. Please contact the AVTA. .
Load more

Recommended publications
  • Australians All by Nadia Wheatley Illustrated by Ken Searle
    BOOK PUBLISHERS Teachers Notes by Dr Robyn Sheahan-Bright Australians All by Nadia Wheatley Illustrated by Ken Searle ISBN 978 1 74114 637 0 Recommended for readers 9 yrs and older Older students and adults will also appreciate this book. These notes may be reproduced free of charge for use and study within schools but they may not be reproduced (either in whole or in part) and offered for commercial sale. Introduction ........................................... 2 Use in the curriculum ........................ 2 Layout of the Book ............................ 2 Before reading ........................................ 3 SOSE (Themes & Values) ......................... 4 Arts .............................................. 26 Language & Literacy ........................ 26 Visual Literacy ................................ 26 Creative Arts .................................. 26 Conclusion .......................................... 27 Bibliography of related texts ................... 27 Internet & film resources ....................... 29 About the writers .............................. ....30 83 Alexander Street PO Box 8500 Crows Nest, Sydney St Leonards NSW 2065 NSW 1590 ph: (61 2) 8425 0100 [email protected] Allen & Unwin PTY LTD Australia Australia fax: (61 2) 9906 2218 www.allenandunwin.com ABN 79 003 994 278 INTRODUCTION ‘Historians sometime speak of our nation’s founding fathers and mothers, but it is the children of this country who – generation after generation – create and change our national identity.’ (p.241) In this significant
    [Show full text]
  • The Sentimental Bloke (1995/2004)
    Jen Anderson: Filmography Soundtracks for Film/Television and Music Clips (Online) Last updated May 2010. This filmography is incomplete Contents 1. Films and Television ………………………………………………………… 1. 2. DVDs and Videos (Commercial releases) ……………………………………… 4. 3. Music Clips (online) ………………………………………………………… 6. Films and Television Pandora's Box (1993 Australian tour) Nero Film - AG Director Georg Wilhelm Pabst • Writer Georg Wilhelm Pabst and Ladislaus Vajda • Music Jen Anderson Cast incl. Louise Brooks, Francis Lederer, Carl Goetz, Alice Roberts Jen Anderson was approached in 1992 to compose the film score for the classic 1929 German silent film Pandora's Box. She subsequently wrote the score for a string quartet, and the project culminated in a national Australian tour (with live musical accompaniment) in 1993. Original 1929 poster • Image: Courtesy of Franz Jacobs ("Pandora's Box," Wikipedia) † __________________________________________________________________________________________ The Sentimental Bloke (1995/2004) Original film released in 1919. Southern Cross Feature Film Company. Restored by the National Film and Sound Archive (ScreenSound Australia). Director Raymond Longford • Writer Raymond Longford and Lottie Lyall Music – restored version Jen Anderson (with additional music/lyrics by Mick Thomas) Cast incl. Arthur Tauchert, Lottie Lyall, Gilbert Emery, Stanley Robinson. A version of the original 16mm film was blown-up to 35 mm and screened at several film festivals and via an Australian tour in 1995 (with a score largely written by Jen Anderson and performed live by Anderson, Mick Thomas and Mark Wallace). A fully newly restored version, with additional footage, premiered in 2004 (with live musical accompaniment by Jen Anderson and The Larrikins) Based on C. J. Dennis' popular poems, the film follows the ups and downs of Bill (aka The Bloke), a larrikin from the Sydney dockside suburb of Woolloomooloo.
    [Show full text]
  • Clarence Michael James Stanislaus Dennis - Poems
    Classic Poetry Series Clarence Michael James Stanislaus Dennis - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive www.PoemHunter.com - The World's Poetry Archive 1 Clarence Michael James Stanislaus Dennis(7 September 1876 - 22 June 1938) Clarence Michael James Stanislaus Dennis, better known as C. J. Dennis, was an Australian poet known for his humorous poems, especially "The Songs of a Sentimental Bloke", published in the early 20th century. Though Dennis's work is less well known today, his 1916 publication of The Sentimental Bloke sold 65,000 copies in its first year, and by 1917 he was the most prosperous poet in Australian history. Together with Banjo Paterson and Henry Lawson, both of whom he collaborated with, he is often considered among Australia's three most famous poets. When he died at the age of 61, the Prime Minister of Australia Joseph Lyons suggested he was destined to be remembered as the "Australian Robert Burns". <b>Biography</b> C. J. Dennis was born in Auburn, South Australia. His father owned hotels in Auburn, and then later in Gladstone and Laura. His mother suffered ill health, so Clarrie (as he was known) was raised initially by his great-aunts, then went away to school, Christian Brothers College, Adelaide as a teenager. At the age of 19 he was employed as a solicitor's clerk. It was while he was working in this job that, like banker's clerk <a href="http://www.poemhunter.com/andrew-barton-paterson-2/">Banjo Paterson</a> before him, his first poem was published.
    [Show full text]
  • Towards a History of Transtasman Literary Relations
    The Neglected Middle Distance: Towards a History of Transtasman Literary Relations TERRY STURM Prefatory Note. The following article was originally delivered as a public lecture at the University of Auckland. In some intro• ductory remarks I spoke of contemporary economic and political developments in Transtasman relations as giving some urgency to the more specific literary and cultural questions raised in the lecture. I was also conscious — in thinking about the ways in which New Zealand and Australian literature might be related — of pressures from a very different quarter : the burgeoning academic industry in comparative Commonwealth literary studies. I remain obstinately sceptical about many of its tendencies, and the lecture was an implicit argument against at least one of them : the anti-historical tendency in comparative studies to treat authors and works, and the national traditions they belong to, as autonomous, self-contained totalities. What is attempted here is a mapping of the historical contours of Australian cultural influ• ence on, and presence in, New Zealand literature: a continuous, shifting history within which any comparative literary analysis needs, in my view, to be situated. JLHE TITLE OF THIS ESSAY is a phrase used by Allen Curnow in a longish review of twentieth-century Australian poetry which appeared in the second number of the New Zealand magazine Landfall in 1947.1 Its implication was that New Zealanders had concerned themselves too little with understanding a neighbour• ing culture which occupied the "middle distance" of their out• ward perspective — too much, perhaps, with the Anglo-European and American horizons beyond. Until very recently, awareness of each other's literature has been at an even lower ebb, perhaps, 30 TERRY STURM than when Allen Curnow wrote.
    [Show full text]
  • Lottie Lyell
    Lottie Lyell: the silent work of an early Australian scenario writer http://www.screeningthepast.com/2015/08/lottie-lyell-the-silent-work-of-an-early-australian-scenario... Current Issue Back Issues Occasional Papers Publications Webteque Events About Us Archives Margot Nash Lottie Lyell was a much-loved silent movie star in the early days of cinema in Australia. She was also an accomplished scenario writer, director, film editor, and producer. Quietly working alongside director, Raymond Longford, she had a considerable influence on the twenty-eight films they made together. [1] Longford directed and Lyell starred in nearly all the films, but it is now generally accepted that she contributed a great deal more to all the films than was officially acknowledged at the time. [2] This article builds on the existing research on Lyell through a focus on her work as a scenario writer. It also makes a contribution to screenwriting research through a study of some of the original scenarios held in the archives. In her work on the Canadian silent screen star, scenario writer, director, and producer, Nell Shipman, Kay Armitage writes of the experience of original research in the archives and “the sense of the body of the subject as perceived through the sensorium of the researcher”: … every time Shipman typed a capital, the letter jumped up half a line, and when she came to the end of a sentence, she hit the period key with such force that it left a hole in the paper … That it is Shipman’s body that we contact, rather than a simple fault in the machine, is proven when we read a letter written by Shipman’s husband on the same typewriter.
    [Show full text]
  • Lottie Lyell
    Lottie Lyell Also Known As: Lottie Edith Cox Lived: February 23, 1890 - December 21, 1925 Worked as: art director, director, editor, film actress, producer, screenwriter, theatre actress, title writer Worked In: Australia by Margot Nash Lottie Lyell was a much-loved silent film star in Australia. She was also a scenario writer, director, editor, producer, and art director. Quietly working alongside director Raymond Longford, she had a significant influence on the twenty-eight films they made together. Lyell starred in nearly all the films, but it is now generally accepted that she contributed a great deal more than was officially acknowledged at the time (Wright 1986, 1-14; Pike and Cooper 1998, 19, 109; Dooley 2000, 4). The Australian feature film renaissance of the 1970s awakened interest in the rich history of Australian cinema, and feminist scholars and archivists like Andrée Wright and Marilyn Dooley began to research the role of women in the early days of Australian cinema. In 1985, Wright produced a feature documentary called Don’t Call Me Girlie. Lottie Lyell featured in the section on the silent era and Wright included camera interviews with surviving actors and crew who testified to the major role Lyell had played both on and off screen. The following year, Wright published Brilliant Careers, devoting the first chapter to Lyell and calling it “The Sentimental Girl” (1-14). The title refers to Lyell and Longford’s most successful film, The Sentimental Bloke (1919). Based on the poem by C.J. Dennis, the film tells the story of a “knock about” bloke just out of jail who falls in love with a local lass.
    [Show full text]
  • A Study Guide by Lee Burton
    A STUDY GUIDE BY LEE BURTON http://www.metromagazine.com.au http://www.theeducationshop.com.au OVERVIEW > This study guide discusses how secondary and tertiary teachers of English, Film Studies and Media Studies can use the restored version of The 1 Sentimental Bloke (Raymond Longford, 1919) and the resources in the accompanying DVD produced by the National Film and Sound Archive. comedy, a romance, a ripping good yarn – that’s The Sentimental Bloke, one of Australia’s iconic early silent films. The Sentimental Bloke broke all box- office records in Australia and New Zealand when it was released in 1919, with people queuing along city blocks to see it. How- ever, it did not succeed in the United States, where test audiences failed to understand the Australian street vernacular of the time. The National Film and Sound Archive recently produced Raymond Longford’s The Sentimental Bloke: The Restored Version, and made a DVD that includes the restored film and other reference materials. 2 The film is based on Australian C.J. Dennis’ 1915 book The Songs of a Sentimental Bloke. The book Students may find Dennis’ verse difficult to decode was the first of Dennis’ ‘verse novels’ and in the intertitles, but reading sections from The introduced Bill (the Sentimental Bloke), his wife, Songs of a Sentimental Bloke should help them to Bloke broke all Doreen, and his friend Ginger Mick. Wildly popular, enjoy the language. (The book is readily available the book sold more than 60,000 copies in the to order online and in bookstores.) eighteen months following its publication in 1915.
    [Show full text]
  • A Personal Australian Perspective on Film, Television, Music and Management By
    Jenny Watson, The Princess and the Pauper 1990, oil, acrylic and pastel on Belgian linen, 212.8 x 101.5cm. Deakin University Art Collection. Reproduced with the permission from the artist and assistance from the Deakin University Art Collection and Galleries Unit. Growing up in Arts – a personal Australian perspective on film, television, music and management by Kim Williams AM Chief Executive Officer Foxtel Kenneth Myer Lecture by the George Fairfax Fellow in Arts and Entertainment Management Edited by Ruth Rentschler An event initiated by Ruth Rentschler Centre for Leisure Management Research, Deakin University Thursday 6 May 2010 St Michael’s, 120 Collins Street, Melbourne Published by Deakin University, Geelong, Victoria, 3217 Australia First published in May 2010 Produced and distributed by the Centre for Leisure Management Research Faculty of Business and Law 221 Burwood Highway, Burwood, 3125 Printed by Deakin Print Services, Logistics Division, Deakin University ISBN No 978 1 74156 135 7 Growing up in Arts – a personal Australian perspective on film, television, music and management Deakin University Centre for Leisure Management Research School of Management and Marketing 6 May 2010 St Michael’s, 120 Collins Street, Melbourne Kenneth Myer Lecture by the George Fairfax Fellow in Arts and Entertainment Management Edited by Ruth Rentschler Acknowledgements The George Fairfax Fellowship The George Fairfax Fellowship in Arts and Entertainment Management at Deakin University enables visiting practitioners and scholars in the cultural arena to enrich our understanding of national and international issues in cultural management. The Fellowship was made possible by the generous support of important donors, including the Myer Foundation, Dame Elisabeth Murdoch and the Faculty of Business and Law at Deakin University.
    [Show full text]
  • ON STAGE the Summer 2009 Newsletter of Vol.10 No.1
    ON STAGE The Summer 2009 newsletter of Vol.10 No.1 In the National interest It’s all systems go: Arts Victoria has funded a major upgrade for the National Theatre, giving the St Kilda landmark a well-deserved boost. hanks to timely Arts Victoria funding the teaching and production of opera, the VCA in 1977). The auditorium is used for and support from Arts Minister dance and drama. community and commercial hirers as well as TLynne Kosky, the National Theatre The theatre was renamed—naturally the schools-—and it is income from hiring that in St Kilda is set for a major upgrade. enough—the National. The auditorium was subsidises the activities of the schools and Last year the National submitted an split horizontally so that teaching studios permits rental subsidies for community application to Arts Victoria for support in could be installed in the area formerly groups. funding a series of major upgrades to its occupied by the stalls and cinema stage, and Surprisingly, the National gets no recurrent aging facilities, a project totalling $750 000. a new stage and fly tower were built in front government support for its operations. The main fabric of the theatre is now 88 of the old dress circle, which then became ‘Everyone assumes we get help to run the years old. It opened as a cinema, the Victory, an 800-seat auditorium. It opened in 1974. schools because they include accredited on 18 April 1921. The revamped building has housed the vocational training regulated by the state Seven years later, in response to the National’s schools of drama and dance ever government, as well as international students,’ introduction of ‘talkies’ and competition since (the opera school was subsumed by says general manager Robert Taylor.
    [Show full text]
  • THE BLOKE’ on DVD Speech Given by Graham Shirley, 12 May 2009
    LAUNCHING ‘THE BLOKE’ ON DVD Speech given by Graham Shirley, 12 May 2009 Within walking distance of the Powerhouse Museum are the old Walsh Bay Wharves – places like Pier One, now a hotel and function centre, and the Wharf Theatre. Over the road nestles the up-market Sydney Theatre Company. Walsh Bay, like Pyrmont, is now associated increasingly with prestige businesses and up-market living. Back in the 1950s it was a set of rough-and-tumble wharves, a place of heavy, backbreaking manual labour of men who used cranes, nets, grappling hooks and their bent backs to unload crates, sacks, 44-gallon drums and wheat whose dust could trigger silicosis. In the 1950s there was no Australian feature industry to speak of, and yet we produced many documentaries. Among the documentary filmmakers were Keith Gow, Norma Disher and Jock Levy of the Waterside Workers’ Film Unit. From the start to the finish of the decade, the ‘wharfies’ film unit’ made a dozen remarkable, semi-dramatised documentaries that recorded the working and pay conditions of wharfies, the building workers, coal-miners and other unionists they knew. One day, Gow, Disher and Levy met a man in his 80s very different to the usual people on the wharves. Tall and with a resonant theatrical voice, this man was impeccably dressed, complete with a three-piece brown suit with a matching homburg, overcoat and amber-handled umbrella. This man was working as a watchman, sometimes during the day, sometimes at night. As he roamed the wharves by night, he used his torch to scare rats out of a burst sack of grain, or hurry along a drunk who’d just hurled a brick through a window.
    [Show full text]
  • The Sentimental Bloke and Australian Culture in the War- and Early Interwar Years
    A Masculine Romance: The Sentimental Bloke and Australian Culture in the War- and Early Interwar Years Melissa Bellanta Published online: October 2014 http://www.jprstudies.org Abstract: The Sentimental Bloke was a hugely popular multi-media phenomenon in Australia during the First World War and early interwar years. I explore the work as a heterosexual “masculine romance”: a love story expressing heterosexual romantic feeling from a masculine point of view and in a self-consciously masculine way. The Bloke phenomenon demonstrates that “ordinary” Australian men were more interested in certain forms of romantic popular culture than previously allowed. It also points to the fact that avowedly masculine constructions of romantic feeling were emerging in this period in response to criticism of elaborate Victorian-era expressions of romance on the one hand, and of commodified approaches to romantic love on the other. This point has implications for romance studies, which has paid little attention to the concept or even the possibility of masculine romance. In Australia, there was an insistent emphasis on plainness and straightforwardness as the hallmarks of a sturdily masculine approach to romance in the 1910s and 1920s. My hope is that this discussion will prompt other romance scholars to consider the particular inflexions given to masculine constructions of romance in other localities in the same period. About the Author: Dr. Melissa Bellanta is a senior lecturer in history at the Australian Catholic University. Her work deals with the history of masculinities, the emotions and sentimentality, underprivileged youth, street culture and popular culture in Australian history. Her book Larrikins: A History won the Ernest Scott Prize for best book on Australian or New Zealand history published in 2012.
    [Show full text]
  • Margot Nash University of Technology, Sydney [email protected]
    1 Margot Nash University of Technology, Sydney [email protected] The silent work of Australian women scenario writers Abstract Set against a backdrop of the boom and bust of Australian silent film production, World War 1 and the first wave of feminism that provided role models for spirited young women, this chapter will explore the lives and scenario writing work of Lottie Lyell, the McDonagh sisters and to a lesser extent Agnes Gavin and Louise Lovely. Through a study of some of the surviving original scenarios, it will also examine the form the early scenarios took before the talkies transformed writing for the screen into what we know today as the screenplay. Key words Silent film scenarios, Australia, Lottie Lyell, The McDonagh sisters, Louise Lovely, Agnes Gavin Introduction The early days of silent cinema in Australia were extraordinary. Over two hundred narrative films were produced in Australia before the advent of the talkies in 1928. This included what is believed to be the first long-form dramatic film the world, The Story of The Kelly Gang (1906). 1Australians were passionate about the cinema and audiences flocked to screenings in makeshift tents, community halls and the many picture theatres 2 that were quickly built in cities and country towns. Showmen travelled to remote areas by horse and cart, screening films, often in the open air. With small portable cameras, dramatic locations, and a hungry cinema-going public, it was a time when anyone could have a go, and they did. The new medium attracted storytellers from theatre and vaudeville as well as a new generation of both men and women keen to try their hand.
    [Show full text]