DOCSLIB.ORG

Clarence Leon Brown, BS 1910

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clarence Leon Brown, BS 1910 D ISTINGUISHED A LUMNUS A W A RD Clarence Leon Brown, The auto industry did not hold his attention for long and B.S. 1910 (posthumous) Brown became fascinated with what were then called moving This year, the university celebrates the 35th pictures. He talked his way into anniversary of the establishment of the highly a job working as an assistant to regarded Clarence Brown Company at the the pioneering French director, University of Tennessee. Clarence and Marian Maurice Tourneur, who was Brown gave $11.2 million from their estate making silent pictures in New to establish an endowment that supports the Jersey. Brown moved up steadily Clarence Brown Theatre. in the film industry and signed Brown also made the initial a contract in 1927 with Metro- gift that made the building Goldwyn-Mayer (MGM) where of the theatre a reality. he directed and produced films Brown, one of until 1953. He groomed new stars the university’s most such as Elizabeth Taylor and was a personal friend of his boss at MGM, accomplished alumni and Louis B. Mayer. one of its highest patrons, is Brown was nominated for the Academy Award for best director six a major figure in American cinema. In histories times during the 1930s. He made the transition from silent films to and memoirs, he is always listed among the talkies with classics such as National Velvet and The Yearling and was most outstanding early directors, but because of the favorite director of screen legend Greta Garbo. Over the course of his personal modesty and unwillingness to allow his career, Brown directed 52 feature-length films that were nominated commercial exploitation of his career, the wide range for 38 Academy Awards and won eight. His film Intruder in the Dust, of his contribution to motion picture art has never adapted from William been fully explored. Faulkner’s novel, won A prodigy in many respects, Brown graduated from Knoxville the prestigious United High School in 1906, at the age of 15, and received special permission Nations Award from to enter UT to study engineering. Four years later, at the age of 19, the British Academy he graduated with two degrees in engineering. During World War I, Film Awards in 1950. he learned to fly and served as an instructor in the air corps. In his early 20s, he started and ran his own successful car dealership in Birmingham, Alabama. 2 4 • A l u m n i A w A r d s d i n n e r 2 0 0 9 2 0 0 9 A l u m n i A w A r d s d i n n e r • 2 5 D ISTINGUISHED A LUMN A A W A RD Natalie Leach Haslam, member and major supporter of the B.A. 1952 Friends of Great Smoky Mountains Natalie Haslam received her bachelor’s degree National Park. from the UT Knoxville College of Liberal Arts In 2001, she and was selected Miss University of Tennessee served as chair of in 1952. the 16-member Haslam’s longtime service to her alma Commission on mater is remarkable. She currently serves Excellence for as the co-chair of the College of Arts and the Fine and Sciences Campaign Leadership Committee, Performing Arts, co-chair, along with her husband Jim, of composed of six the university’s $1 billion comprehensive community leaders fundraising campaign, The Campaign for and nine university Tennessee, and is a member of Friends of the employees UT Gardens. She is a former member of the representing the UT Knoxville College of Arts and Sciences arts and campus Board of Visitors, the UT Knoxville Chancellor’s administration. Associates and the executive board of the UT Under her Alliance of Women Philanthropists. Haslam leadership, the committee submitted a report recommending strong was very involved in organizing UT’s Speech support for the arts and several major improvements to the music and Hearing Clinic. Both she and Jim were named facilities. Her letter of nomination states that “in so many ways, Volunteers of the Year in 1992. Natalie exemplifies the absolute best of the college through her Along with her continued support of the University unselfish service to her alma mater.” of Tennessee, Haslam embodies the volunteer spirit in the As a perfect tribute to her dedicated support of the arts—and Knoxville community, serving on the Knoxville Symphony Board and particularly music—the university’s much-anticipated new School the East Tennessee Historical Society Board. She also has served on of Music building, currently in the planning stage, will be named in the Knoxville Arts Council and has been a member of the Tennessee her honor. Roger Stephens, director of the School of Music, sums it Arts Commission and president of the Tennessee Presidents Trust. up well by saying, “There is no doubt that the leadership provided Additionally, she has been involved in community activities such as by Natalie Haslam has helped the School of Music achieve national the United Way of Knoxville, East Tennessee Foundation, Knoxville prominence.” Garden Club, Knoxville Zoo and the Wellness Center. She is a founding 2 6 • A l u m n i A w A r d s d i n n e r 2 0 0 9 2 0 0 9 A l u m n i A w A r d s d i n n e r • 2 7 D ISTINGUISHED A LUMNUS A W A RD Century Campaign in 1994-98, James A. Haslam II which raised $432 million for the B.S. 1952 University of Tennessee system. Haslam has chaired the Uni- To anyone who has heard his story—and cer- versity of Tennessee Foundation tainly to his proud alma mater—Jim Haslam, and guided its strategic planning founder and chairman of Knoxville-based since its founding in 2002. He has Pilot Corp., personifies the successful business served on the board of directors of entrepreneur with the strongest of philan- the Howard H. Baker Jr. Center thropic instincts. Not only have Jim and his for Public Policy at the University wife, Natalie, generously supported the Uni- of Tennessee since its inception versity of Tennessee, local civic groups, the in 2003. Until only a few years arts and human services, their efforts to en- ago, Haslam was the longest- courage others to give to the university and serving trustee on the university’s nonprofit organizations have reached legend- Board of Trustees and its past vice ary proportions. In this case, the legend is not chair. Additionally, he was ap- an exaggeration. pointed for a six-year term beginning in 2006 as a trustee of the John F. After graduating from UT, Haslam served Kennedy Center for the Performing Arts. as a first lieutenant in the U.S. Army during Jim and Natalie currently serve as co-chairs of the university’s $1 the Korean Conflict. After completing his ac- billion comprehensive fundraising campaign, The Campaign for Ten- tive duty, he put his finance degree to good use in nessee, and have made significant personal investments. They also 1958 when he opened a gas station in Gate City, have raised millions more from donors who gave to the university in Va. Haslam proceeded to build that one station it response to a visit by Jim Haslam. Many of these donors were inspired into Pilot Corp., the largest travel center company to make significant investments in response to the Haslams’ generosity. in the nation. Pilot owns and operates more than 300 The new College of Business Administration building bears the travel centers in 40 states coast-to-coast and recently opened a Haslam name and communicates to students, alumni, friends, faculty location in Canada. Pilot Travel Centers is also one of the largest res- and staff those principles that our university seeks to deliver each day. taurant operators in the U.S. Leadership, ethical business practices, a commitment to be successful While he steered his phenomenally successful business, Haslam co- and a desire to make a difference are qualities that rise to the surface in chaired UT Knoxville’s first major capital campaign, The Tennessee Jim Haslam. Tomorrow Campaign in 1977-80, which received commitments total- ing $57 million, and again led UT Knoxville’s efforts during The 21st 2 8 • A l u m n i A w A r d s d i n n e r 2 0 0 9 2 0 0 9 A l u m n i A w A r d s d i n n e r • 2 9 D ISTINGUISHED A LUMNUS A W A RD Howard H. Baker Jr. J.D. 1949 Howard Baker began his road to political suc- cess in Huntsville, Tennessee. He attended The McCallie School in Chattanooga, Tennessee, and then matriculated to Tulane University in New Orleans. After serving in the U.S. Navy during World War II, he returned to school, graduating from the University of Tennessee College of Law in 1949. Baker’s political career began in the late 1960s and continued in earnest through the 1980s. In the 1966 Senate election, Baker became the first Republican elected from Tennessee since Reconstruction. He served as a Tennessee senator from 1967 until 1985. During that time, he was twice Senate Minor- ity Leader and twice Senate Majority Leader. Baker was the recipient of the Presidential Medal of Freedom in 1984, served as Chief of Staff under President Ronald Reagan in 1987-88, and was a for- mer U.S. Ambassador to Japan. During his celebrated political career, Baker did not lose touch with his home state, and he remained commit- knowledge of our system of governance, and to highlight the critical ted to the University of Tennessee.
Load more

Recommended publications
  • Youth Clarence Brown Theatre Clarence Brown Theatre
    YOUTH CLARENCE BROWN THEATRE CLARENCE BROWN THEATRE he Clarence Brown Theatre Company is a professional theatre company in residence at the University of Tennessee at Knoxville. Founded in 1974 by Sir Anthony Quayle and Dr. Ralph G. Allen, the company is a member Tof the League of Resident Theatres (LORT) and is the only professional LORT company within a 150-mile radius of Knoxville. The University of Tennessee is one of a select number of universities nationwide that are affiliated with a professional LORT theatre, allowing students regular opportunities to work alongside professional actors, directors, designers, dramaturgs, and production artists. The theatre was named in honor of Knoxville native and University of Tennessee graduate, Clarence Brown, the distinguished MGM director of such beloved films as “The Yearling” and “National Velvet”. In addition to the 575-seat proscenium theatre, the CBT’s facilities house the costume shop, electrics department, scene shop, property shop, actors’ dressing quarters, and a 100-seat Lab Theatre. The Clarence Brown Theatre Company also utilizes the Ula Love Doughty Carousel Theatre, an arena theatre with flexible seating for 350, located next to the CBT on the University of Tennessee campus. The Clarence Brown Theatre has a 19-member resident faculty, headed by Calvin MacLean, and 25 full-time management and production staff members. SEASON FOR YOUTH t the Clarence Brown Theatre, we recognize the positive impact that the performing arts have on young people. We are pleased to continue our commitment to providing high-quality theatre for young audiences Awith our 2013-2014 Season for Youth performances.
    [Show full text]
  • Feel Films / Resen «Cine Clásico Exclusivamente En
    JOAN CRAWFORD EN ASÍ AMA LA MUJER vamente. La gran mayoría de sus films en MGM (SADIE MCKEE) (V.O.S.). UNA PELÍCULA durante la década de 1930, que representan el DE CLARENCE BROWN cénit de su éxito, belleza y popularidad, ni Título: Así ama la mujer siquiera llegaron a estrenarse en España. Los Distribuidora: Feel Films / Resen «Cine motivos de esta omisión son diversos, pero po- Clásico Exclusivamente en V.O.S.» drían resumirse en uno: Crawford fue en esencia Zona: 2 una estrella y un fenómeno 100% norteameri- Contenido: Un disco cano. Formato de imagen: 4:3 / 1.33:1 Sadie McKee no es ninguna excepción a este Audio: Dolby Digital Mono inglés respecto, si bien se constituye como una de las Subtítulos: castellano, portugués cintas más significativas de la segunda parte de Contenido extra: tráiler original su filmografía, ya en la época sonora. La actriz Precio: 15,65 € ingresó en el celuloide, contratada por MGM, en 1925. Tras una serie de pequeñas apariciones, el estudio decidió lanzarla en 1928 como la quin- taesencia de la modernidad, interpretando a la flapper propia de los años 20. El hundimiento de la bolsa de Wall Street en 1929 sumió al país en el desempleo, la pobreza y el hambre, y tanto MGM como la estrella comprendieron que se había acabado la etapa de la «virgen moderna». Debía crearse para ella otro tipo de personalidad, acorde con los nuevos tiempos de la Depresión: la working girl (chica trabajadora), personaje inspirado en su biografía personal y orígenes sociales humildes. El film que inauguró esta ten- dencia fue Amor
    [Show full text]
  • 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.
    [Show full text]
  • MGM Studio News (January 14, 1939)
    . STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly.
    [Show full text]
  • Alabama Story” to Play on the Clarence Brown Mainstage Jan
    For immediate release: Contact: Robin Conklin [email protected] (865) 974-2497 For Immediate Release: “Alabama Story” to Play On the Clarence Brown Mainstage Jan. 31 – Feb. 18 The Clarence Brown Theatre kicks off the second half of the season with Kenneth Jones’ “Alabama Story,” January 31 – February 18, 2018 on the CBT mainstage. The production is sponsored by Schaad Companies with additional support from the City of Knoxville, Humanities Tennessee, the Knox County Public Library, and the Knoxville and Tennessee Valley YWCA. Media sponsors are WBIR, WUOT, WUTK, B97.5, the Daily Beacon, and the Knoxville News Sentinel. A Pay What You Wish Preview performance, where patrons can name their own price, will be Wednesday, January 31st. Tickets available for purchase from 4:00 to 7:30 pm at the theatre. A Talk Back with the actors will take place Sunday, February 11 following the matinee. The Open Captioned performance is Sunday, February 18 at 2:00 pm. In addition, several community engagement events will take place in conjunction with this production. On Sunday, Feb. 4th, a free panel discussion on this issue of censorship will take place from 2:00-4:00 pm at the Lawson McGhee Library. On Tuesday, Feb. 6th a reception with playwright Kenneth Jones will take place on the CBT Mainstage from 6:30 -7:00 pm, followed by a free staged reading of select censored children’s books. On Tuesday, February 13 from 6:00 – 7:00 pm, a CBT Family Feast will take place from 6:00-7:00 pm prior to the 7:30 production of “Alabama Story.” A gentle children’s book that stirs the passions of a segregationist senator and a no-nonsense state librarian in 1959 Montgomery, just as the Civil Rights Movement is flowering.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • Restitution's Outlaws
    Chicago-Kent Law Review Volume 78 Issue 1 Symposium: Private Law, Punishment, Article 3 and Disgorgement April 2003 Restitution's Outlaws Andrew Kull Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Law Commons Recommended Citation Andrew Kull, Restitution's Outlaws, 78 Chi.-Kent L. Rev. 17 (2003). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol78/iss1/3 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. RESTITUTION'S OUTLAWS ANDREW KULL* INTRODUCTION Restitution, meaning the law of unjust enrichment, is not sup- posed to be punitive in purpose or effect., The first Restatement of Restitution treats this proposition as axiomatic: Actions for restitution have for their primary purpose taking from the defendant and restoring to the plaintiff something to which the plaintiff is entitled, or if this is not done, causing the de- fendant to pay the plaintiff an amount which will restore the plain- tiff to the position in which he was before the defendant received the benefit. If the value of what was received and what was lost were always equal, there would be no substantial problem as to the amount of recovery, since actions of restitution are not punitive.2 As an observation this is much more true than false, and in the contexts where it is typically repeated it conveys a useful reminder.
    [Show full text]
  • Overleaf.Januaryfebruarymarch12
    Newsletter of the Hewlett- Woodmere Public Library I I OverlJANUARY FEBRUARY MAReCH 2012 VOaLUME 47, NUf MBER 3 What’s Inside OVERLEAF JR. REMOVABLE INSERT Events & Performances Pages 2-3 Films Pages 6 Great Books Page 5 Great Decisions Page 6 H-W PL Readers Page 5 In the Gallery Page 7 Lectures & Courses Pages 3-5 Special Films Page 7 HEWLETT-WOODMERE PUBLIC LIBRARY ANNUAL LIBRARY VOTE AND ELECTION Tuesday, April 3, 2012 7 a.m. to 9 p.m. The Boehm Meeting Room ÌF LET’S HEAR IT FOR PROPOSITION 1: THE SILENT FILMS! Proposed 2012/2013 Library Budget I Sunday, March 11, 2 pm PROPOSITION 2: Election of Library Trustee Flesh and the Devil, 1926 Starring Greta Garbo, John Gilbert, Lars Hanson, Barbara Kent QUALIFICATIONS FOR Directed by Clarence Brown, Screenplay by Benjamin Glazer, VOTING based on the book “The Undying Past” by Hermann Sudeman, 112 minutes Registration is required only if a Live piano accompaniment by Ben Model, resident has not voted in a Hewlett- pianist, composer, & silent film historian Woodmere Union Free School District Discussion led by Philip Harwood, film historian or Library referendum within the last The Plot: Leo and Ulrich are life long friends. Home on leave from their military 4 years or in a general referendum training, Leo (John Gilbert) sees the beautiful Felicitas (Greta Garbo) at the rail - within the last 4 years. In order to be road station. The following evening they meet again at a ball. Drawn to her by her eligible to register, you must be beauty, they leave the ball together.
    [Show full text]
  • P-26 Motion Picture Collection Repository: Seaver Center For
    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.
    [Show full text]
  • A Survey of American Critical Reaction to the Film Career of Clarence Brown
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1973 A Survey of American Critical Reaction to the Film Career of Clarence Brown Deborah L. Oliver University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Theatre and Performance Studies Commons Recommended Citation Oliver, Deborah L., "A Survey of American Critical Reaction to the Film Career of Clarence Brown. " Master's Thesis, University of Tennessee, 1973. https://trace.tennessee.edu/utk_gradthes/2913 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Deborah L. Oliver entitled "A Survey of American Critical Reaction to the Film Career of Clarence Brown." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in Theatre. John L. Jellicorse, Major Professor We have read this thesis and recommend its acceptance: G. Allen Yeomans, Robert W. Glenn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) July 31, 1973 To the Graduate Council: I am submitting herewith a thesis written by Deborah L.
    [Show full text]
  • 1 Exploring Racial Politics, Personal History and Critical Reception
    1 Exploring Racial Politics, Personal History and Critical Reception: Clarence Brown’s Intruder in the Dust (1949) Gwenda Young, University College Cork Abstract: Using archival sources from the Clarence Brown Archive at the University of Tennessee at Knoxville, newspaper clippings from a wide range of national and regional press, and unpublished interviews, this article explores how the complexities and contradictions that are central to Clarence Brown’s film version of Intruder in the Dust (1949)—complexities that, arguably, make this film the most ambiguous of all the “race issue” films released in 1949—are mirrored in the director’s own deeply divided attitude to race and to the South. These tensions also surface in the critical reception of the film in the white press, and perhaps more tellingly, in the black press of 1949. The notion that this was a film generally acclaimed in the black press can be challenged, or at the very least nuanced, through a closer examination of newspaper archives, which, in turn, reveals some of the divisions within black intellectual circles of the late 1940s. Introduction In their Introduction to the collection The New Film History: Sources, Methods, Approaches, editors James Chapman, Mark Glancy and Sue Harper note the recent reframing of film history to accommodate a more inclusive approach that considers how “contextual factors—the mode of production, the economic and cultural strategies of the studios, the intervention of the censors” might serve to influence film content and, in turn, shape our understanding of the text (3). Such a methodology was deemed necessary after the excesses of the auteur studies of the 1960s and 1970s, but it perhaps risks overlooking the often- personal motives that might compel a director (or indeed an actor or producer) to take on a particular project.
    [Show full text]
  • Collezione 16Mm
    Elenco pellicole collezione “16mm GEH” TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI 20.000 YEARS IN SING SING 20.000 YEARS IN SING SING Michael Curtiz USA 1932 16 3 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 3 GODFATHERS 3 GODFATHERS John Ford USA 1948 16 3 3 MEN IN WHITE THREE IN WHITE Willis Goldbeck USA 1944 16 2 36 HOURS 36 HOURS George Seaton USA 1965 16 4 42ND STREET 42ND STREET Lloyd Bacon USA 1933 16 3 7 FACES OF DR. LAO 7 FACES OF DR. LAO George Pal USA 1964 16 3 7 WOMEN 7 WOMEN John Ford USA 1966 16 3 A CHRISTMAS CAROL A CHRISTMAS CAROL Edwin L. Marin USA 1938 16 2 A DATE WITH JUDY A DATE WITH JUDY Richard Thorpe USA 1948 16 3 A DAY AT THE RACES A DAY AT THE RACES Sam Wood USA 1937 16 3 A FAMILY AFFAIR A FAMILY AFFAIR George B. Seitz USA 1937 16 2 Elenco pellicole collezione “16mm GEH” Pagina 1 TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI A FREE SOUL A FREE SOUL Clarence Brown USA 1931 16 3 A GUY NAMED JOE A GUY NAMED JOE Victor Fleming USA 1943 16 3 A KISS IN THE DARK A KISS IN THE DARK Delmer Daves USA 1949 16 3 A LIFE FOR A LIFE A LIFE FOR A LIFE Stephen Whittaker UK 1998 16 2 A MIDSUMMER NIGHTʼS DREAM A MIDSUMMER NIGHTʼS DREAM William Dieterle, Max Reinhardt USA 1935 16 3 A MODERN HERO A MODERN HERO G.W.
    [Show full text]