EARS!! the Litchfield Fund Weekly Newsletter
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Concetta E. Ribaudo Scrapbook on the Hollywood Canteen 7093
http://oac.cdlib.org/findaid/ark:/13030/c8474hpv No online items Finding aid for the Concetta E. Ribaudo scrapbook on the Hollywood Canteen 7093 Bo Doub USC Libraries Special Collections 2019 June Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding aid for the Concetta E. 7093 1 Ribaudo scrapbook on the Hollywood Canteen 7093 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Concetta E. Ribaudo scrapbook on the Hollywood Canteen creator: Ribaudo, Concetta E. Identifier/Call Number: 7093 Physical Description: 0.21 Linear Feet1 box Date (inclusive): 1938-1944 Abstract: The Concetta E. Ribaudo scrapbook on the Hollywood Canteen includes a variety of memorabilia collected by Ribaudo, who went by the stage name Connie Roberts, during her employment as a hostess at the Hollywood Canteen during World War II. The Hollywood Canteen was a converted barn that operated at 1451 Cahuenga Boulevard in Hollywood from October 3, 1942 to Thanksgiving Day 1945 as a club offering food, dancing, and entertainment for more than three million servicemen. A military uniform served as ticket for admission and everything at the canteen was free of charge. The collection includes Ribaudo's nametag and identification card, letters she received from servicemen she met at the Canteen, news clippings, and various other forms of ephemera and memorabilia. One pilot who went by the name "Crash Clark" wrote to Ribaudo: "You are an OK kid in my books and I can not tell you just how much fun we had at the canteen. -
Delmer Daves ̘͙” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
Delmer Daves ì˜í ™” 명부 (작품으로) The Hanging https://ko.listvote.com/lists/film/movies/the-hanging-tree-1193688/actors Tree Demetrius and https://ko.listvote.com/lists/film/movies/demetrius-and-the-gladiators-1213081/actors the Gladiators Dark Passage https://ko.listvote.com/lists/film/movies/dark-passage-1302406/actors Never Let Me https://ko.listvote.com/lists/film/movies/never-let-me-go-1347666/actors Go The https://ko.listvote.com/lists/film/movies/the-badlanders-1510303/actors Badlanders Cowboy https://ko.listvote.com/lists/film/movies/cowboy-1747719/actors Kings Go https://ko.listvote.com/lists/film/movies/kings-go-forth-2060830/actors Forth Drum Beat https://ko.listvote.com/lists/film/movies/drum-beat-2081544/actors Jubal https://ko.listvote.com/lists/film/movies/jubal-2481256/actors Hollywood https://ko.listvote.com/lists/film/movies/hollywood-canteen-261550/actors Canteen Rome https://ko.listvote.com/lists/film/movies/rome-adventure-319170/actors Adventure Bird of https://ko.listvote.com/lists/film/movies/bird-of-paradise-3204466/actors Paradise The Battle of https://ko.listvote.com/lists/film/movies/the-battle-of-the-villa-fiorita-3206509/actors the Villa Fiorita The Red https://ko.listvote.com/lists/film/movies/the-red-house-3210438/actors House Treasure of the Golden https://ko.listvote.com/lists/film/movies/treasure-of-the-golden-condor-3227913/actors Condor Return of the https://ko.listvote.com/lists/film/movies/return-of-the-texan-3428288/actors Texan Susan Slade https://ko.listvote.com/lists/film/movies/susan-slade-3505607/actors -
Film Reviews Jonathan Lighter
Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is. -
Swing: from Time to Torque (Dance Floor Democracy at the Hollywood Canteen)
KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) by Sherrie Tucker 2013 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Sherrie Tucker. (2013). “Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen.” Daedalus: Journal of the American Academy of Arts & Sciences 142(4):82-97. Published version: http://www.dx.doi.org/10.1162/DAED_a_00243 Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml KU ScholarWorks is a service provided by the KU Libraries’ Office of Scholarly Communication & Copyright. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) Sherrie Tucker Abstract: The Hollywood Canteen (1942–1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the “Good War” and “Greatest Gen- eration.” Drawing from oral histories with civilian volunteers and military guests who danced at the Hol- lywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over “democracy” for jazz and swing studies through a focus on “torque” that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees’ embodied narratives on ideo - logically loaded ground, improvising on the past in the present. -
Download the Monthly Film & Event Calendar
THU SAT WED 1:30 Film 1 10 21 3:10 to Yuma. T2 Events & Programs Film & Event Calendar 1:30 Film 10:20 Family Film FRI Gallery Sessions The Armory Party 2018 Beloved Enemy. T2 Tours for Fours. Irresistible Forces, Daily, 11:30 a.m. & 1:30 p.m. Wed, Mar 7, 9:00 p.m.–12:30 a.m. Education & Immovable 30 5:30 Film Museum galleries VIP Access at 8:00 p.m. Research Building Objects: The Films Film Janitzio. T2 of Amir Naderi. New Directors/ Join us for conversations and Celebrate the opening of The 10:20 Family 7:00 Film See moma.org/film New Films 2018. activities that offer insightful and Armory Show and Armory Arts A Closer Look for El Mar La Mar. T1 4:30 Film 1:30 Film 6:05 Event for details. See newdirectors.org unusual ways to engage with art. Week with The Armory Party SUN WED Kids. Education & FRI SAT MON Pueblerina. T2 Music by Luciano VW Sunday Sessions: for details. at MoMA—a benefit event with 7:30 Film Research Building 1:30 Film Limited to 25 participants 4 7 16 Berio and Bruno Hair Wars. MoMA PS1 24 26 live music and DJs, featuring María Calendaria. T2 7:30 Film Kings Go Forth. T2 10:20 Family 7:30 Event 2:00 Film Film Maderna. T1 Film Film platinum-selling artist BØRNS. Flor silvestre. T1 6:30 Film Art Lab: Nature Tours for Fours. Quiet Mornings. Victims of Sin. T2 Irresistible Forces, 4:30 Film Irresistible Forces, Irresistible Forces, 6:30 Film Music by Pink Floyd, Daily. -
Download the Monthly Film & Event Calendar
SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours. -
Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Yankee Doodle Dandy, Starring Jimmy Cagney As Playwright George M
ALL EARS!! The Litchfield Fund Weekly Newsletter “We just don’t hear it on the street, we have our ears spread across all the fields!!!!!” During the first half of the 20th century, Americans received most of their news from newspapers & magazines. Weekly magazines like Life, Time & The Saturday Evening Post might arrive by mail, but a regular stop at the newsstand was part of most people’s lives! During the first week of July, 1942, by request of FDR, all of the U.S. magazines patriotically displayed an American Flag on their cover*. Of course by 1942, the movie industry was churning out patriotic movies, which that year included Yankee Doodle Dandy, starring Jimmy Cagney as playwright George M. Cohan & as his wife Mary, the beautiful redhead Joan Leslie. Yankee Doodle Gal: Miss Leslie, one of our favorite actresses, passed away recently at age 90. She often played the young ingénue in WWII movies & besides the somewhat fictionalized account of Mr. Cohan’s life, appeared in many patriotically inspired movies such as Sergeant York, The Sky’s the Limit, This is the Army, Thank Your Lucky Stars & Hollywood Canteen. After the war, she fought Warner Brothers for better roles, eventually breaking her contract. She moved on to independent productions & early television. She retired to focus on raising her young twin daughters, taking occasional TV roles into the 1990s! Watching Yankee Doodle Dandy on TV was a Fourth of July family tradition growing up! The nearly 30-year old movie was inspiring then & remains so today. The Fourth was always this little boy’s favorite holiday, for the same reason as Mr. -
The American Indian in the American Film
THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed. -
World War Ii and Us Cinema
ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances.