W. D. Gann: the Tunnel Thru The
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The Fighting 69Th Infantry Division Association, Inc. Vol. 54 No. 1 Sep-Dec 2000
- FIGHTING 69rH INFANTRY DIVISION ****fissoc:iaiion, Ina. VOLUME 54, NO.1 SEPTEMBER - OCTOBER - NOVEMBER - DECEMBER 2000 "THE THREE B'S" P.O. BOX 69 BOLTE'S BIVOUACING BASTARDS CHAMPION, PA 15622-0069 bu.lle-tin.7241455-2901 OFFICERS 2000-2001 Harold Ruck. Presiden' 622 ~Ielvill e Avenue Chattanooga, TN 37412-2645. .... 272 Returning on the Queen Mary Hay Sansoucy, Vice President Anthony Arace, Service Co., 271st: 9000 S. Las Vegas Blvd., #2021, Last Vegas, NV 89193 23 Paradox Drive Worcester, MA 01602 . .......... 272 Ralph Goebel, Secreta I)' 5417 Halifax Lane ~linneapolis, MN 55424-1438 .......... 272 William r..-latlach. Treasurer PO. Box 474 West Islip, rY 11795-0474 .............. 273 Robert. Kurtzman, Membership GilI'm. PO. Box 105 Wilmot. OH 44689-0105 . ...... 272 Edward Lucci, Auditor ...... 273 William Snidow, Chaplaill ........ 661 Paul Shadle, Co-Chap/aill . .. 271 Bernard 2am-en, Legal Advisor ....... 272 LADIES' AUXJLIARY Gloria Czyzyk, Presie/ent '. \.!y Richardson. Vice President Matlach , Secretw)' ~ Ida Goebel, Clwpiaill t:dilh ZafTern, SUlishine Lady BOARD OF DIRECTORS 2000-2001 Charl es Wal sh. ... 27 1 Chester Yastrzemski ....................... 272 Arthur Ha ll .............. 273 William Beswick. .... 661 William Ruebsamen 724 2001-2002 Robert Dimmick . ............ 271 Vincent Mazza .272 Kenneth Sawyer ...... 273 Eugene Pierron. 661 Alex Kormas .. .... 879 2002-2003 Hobe rt Ross ..... ........ 271 Joseph Lipsius ..... 272 Eugene Mi schke ................. 273 Charles Whit.e . 777 WaIter Haag . ... 881 PAST PRESLDE TS ~~ i\ l aj. Gen. E. E Hei nhardl, TX ........................................... Div. \-1 '1 . Lester J. Milich, NJ ................. 569 Sig. "I-lyman E. Goldstein, Ny ......... 272 Inf. ' Clifford E. Ewing, GA ............ 769 Ord. Sherman Lawrence, Ny ........ 272 Inf. -
Redalyc.ACTRICES DEL CINE MUDO QUE NO SUPERARON LA
Aposta. Revista de Ciencias Sociales E-ISSN: 1696-7348 [email protected] Luis Gómez Encinas ed. España Ballesteros García, Rosa María ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO Aposta. Revista de Ciencias Sociales, núm. 71, octubre-diciembre, 2016, pp. 147-191 Luis Gómez Encinas ed. Móstoles, España Disponible en: http://www.redalyc.org/articulo.oa?id=495952433006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto aposta revista de ciencias sociales ISSN 1696-7348 Nº 71, Octubre, Noviembre y Diciembre 2016 ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO ACTRESSES OF THE SILENT FILMS THAT THEY DIDN'T GET OVERCOME THE SOUND BARRIER Rosa María Ballesteros García Universidad de Málaga (SEIM/UMA) Recibido: 19/09/2015 - Aceptado: 8/04/2016 Formato de citación: Ballesteros García, R.M. (2016). “Actrices del cine mudo que no superaron la barrera del sonoro”. Aposta. Revista de Ciencias Sociales , 71, 147-191, http://apostadigital.com/revistav3/hemeroteca/ballesteros8.pdf Resumen El presente artículo tiene como objetivo recuperar una serie de actrices, ídolos de la etapa del cine mudo, que no lograron mantenerse al iniciarse el proceso al hablado. Ponemos el objetivo en algunas de las actrices más representativas a quienes el progreso técnico iba a condenar al ostracismo al no adecuarse su voz (aún sin la muleta del doblaje) a los inevitables cambios estructurales y auditivos. -
Poverty Row Films of the 1930S by Robert J Read Department of Art History and Communication Studies
A Squalid-Looking Place: Poverty Row Films of the 1930s by Robert J Read Department of Art History and Communication Studies McGill University, Montreal August 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy All rights reserved. This work may not be reproduced in whole or in part, by photocopy or by other means, without permission of the author. Robert J Read, 2010. ii Abstract Film scholarship has generally assumed that the low-budget independent film studios, commonly known as Poverty Row, originated in the early sound-era to take advantage of the growing popularity of double feature exhibition programs. However, the emergence of the independent Poverty Row studios of the 1930s was actually the result of a complex interplay between the emerging Hollywood studios and independent film production during the late 1910s and 1920s. As the Hollywood studios expanded their production, as well as their distribution networks and exhibition circuits, the independent producers that remained outside of the studio system became increasingly marginalized and cut-off from the most profitable aspects of film exhibition. By the late 1920s, non-Hollywood independent film production became reduced to the making of low-budget action films (westerns, adventure films and serials) for the small profit, suburban neighbourhood and small town markets. With the economic hardships of the Depression, the dominant Hollywood studios were forced to cut-back on their lower budgeted films, thus inadvertently allowing the independent production companies now referred to in the trade press as Poverty Row to expand their film practice. -
Direct Statement of Independent Producers Group (Errata)
Before the COPYRIGHT ROYALTY JUDGES %ashington, D.C. In the Matter of Distribution of Docket No. 2012-7 CRB SD 1999-2009 1999-2009 (Phase 2) Satellite Ro alt Funds DIRECT STATEMENT OF INDEPENDENT PRODUCERS GROUP (ERRATA) Attached hereto is a corrected Exhibit 2 to Worldwide Subsidy Group LLC, dba Independent Producers Group's ("IPG") written statement, setting forth the direct case of IPG, in connection with Phase II ofthe 1999-2009 Satellite Royalty Distribution Proceedings. (The Exhibit 2 that was submitted with the Direct Statement inadvertently included two programming lists for IPG's claims in the Devotional Category (and a list for the Sports Category), but none for the Program Suppliers Category.) Respectfull itted, Dated: May 29, 2014 Brian D. Boydston, Esq. California State Bar No. 155614 PICK 4 BOYDSTON, LLP 10786 Le Conte Ave. Los Angeles, California 90024 Telephone: (213) 624-1996 Facsimile: (213) 624-9073 Email: [email protected] Attorneys for Independent Producers Group PROGRAII PHASE I CATEGORY 2009 Southwest Believers Convention DEVOTIONAL 3 Days DEVOTIONAL/ PROGRAM SUPPLIERS A Vow to Cherish DEVOTIONAL Adrift DEVOTIONAL/ PROGRAM SUPPLIERS Aftermath DEVOTIONAL / PROGRAM SUPPLIERS Against All Odds DEVOTIONAL / PROGRAM SUPPLIERS Amazing Grace DEVOTIONAL/ PROGRAM SUPPLIERS Americans Feeding Americans DEVOTIONAL / PROGRAM SUPPLIERS America's Throwaway Children DEVOTIONAL / PROGRAM SUPPLIERS 10 An Eye for an Eye DEVOTIONAL/ PROGRAM SUPPLIERS Behind Closed Doors DEVOTIONAL/ PROGRAM SUPPLIERS Believers Voice DEVOTIONAL 13 -
Motion Picture Reviews (1931)
MOTION PICTUPET REVIEWS WOMEN'S UNIVEPSITV CLUB LOS ANGELES. CALIF. - Vo l. ii mi MOTION PICTURE REVIEWS THE WOMEN’S UNIVERSITY CLUB LOS ANGELES, CALIFORNIA JANUARY 1931 THE WOMEN’S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN 84S SOUTH HOOVER STREET Telephone DRexel 2177 Copyright by Women’s University Club 1911 Webbcraft Printers, 1851 Arlington Ave., Los Angeles Motion Picture Reviews Three MOTION PICTURE REVIEWS Published monthly by THE WOMEN’S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OP UNIVERSITY WOMEN Mrs. John Vruwink, General Chairman Mrs. Palmer Cook, Subscription Chairman Mrs. Walter Van Dyke, Vice Chairman Mrs. George Ryall, Preview Chairman Editors Mrs. John Vruwink Mrs. H. Sutherland Campbell Mrs. Margaret Argo Vol. II. No. 1 JANUARY, 1931 10c per Copy, $1.00 per year. A RESPONSIBILITY A recent number of “The Outlook” publishes a letter from Carl Laemmle, President of Universal Pictures, to Mr. Creighton Peet, the distinguished critic whose reviews appear in the periodical. Mr. Laemmle says that public taste is changing and asks Mr. Peet to help in “the solution of our readjustment to the rapidly changing standards of the American nation”. In other words, to learn the secret of how to please the public all the time. 1 Mr. Peet’s reply is interesting. He frankly states that it is too big a job to please all the people all the time, and suggests that no formula can meet the “public taste” as though it were a unit “whose members are of a single mind at any one time.” He agrees that the motion picture audience is changing and that the talking picture has brought new pa- trons and discouraged others.