Christmas Movies Getty Images
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
2017 Annual Report
Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers. -
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. -
STOKOWSKI “VIRGINIA.” Phone Alex 3491 I
-----— Audience Watches Barnes the fine points of disrobing There’s No entertainingly, yet without disturb- Just Gratitude Real ing the censors. in Theaters This Week Strip Tease, Binnie proved an apt pupil. The Washington scene was soon filmed. , Ex-Lifeguard Ronald Reagan Saved Photoplays Reacts .. .. ■■■■■' ■■■ next was t !■■■■■■.. -|| Properly Rogeirs task to record an audience reaction to the Barnes Was Thanked Once WEEK OF MAY 4 I SUNDAY j MONDAY TUESDAY | WEDNESDAY THURSDAY FRIDAY 8ATURDAY B> the Associated Press. Many, Only Several didn't AmHiamw I ‘This-Thin?: Called This Thing Called “Arise, My Love. and “Ariw- My Love." and Melody and Moon- “Melody and Moon- “South of Suez" and HOLLYWOOD. undressing. attempts Bt the Associated Press. Mcaatmy and “Light of t” and of "Boss of Bullion HOLLYWOOD. Love.. nnd Love*. pnd Xhe Devll Com. The Devil Com- light Ugl "Light What’s the best way of getting a go so well. Finally he said to Misa 6th and G Bta. 81 1 “Escape toGlory“Escape to Glory_mands_/|_ _mauds.”_Western Stars.”_Western 8tars.”_City.”_ Would you feel grateful if, your last, a you favorable audience reaction to an Troy. gasping lifeguard pulled Irene”Dunne and Irene Dunne and Irene Dunne and Irene Dunne and Irene Dunne and Merle Oberon. Dennis Merle Oberon. Dennis to safety? nmuabbauur Cary Grant in Cary Grant in Cary Grant in Cary Grant in Cary Grant in Morgan. ‘Affection- Morgan. AfTection- tease from a theater ** imaginary strip ‘'How about the real thing?" but 18th and Columbia Rd. “Penny Serenade.'* Penny Serenade.'* “Penny Serenade "Penny Serenade.” "Penny Yours.” Maybe, Movie Actor Ronald Reagan won't take any bets. -
Evening Star. (Washington, DC). 1935-11-27 [P A-7]
and brought them back to use In hi > Celebrates role In the picture. *r \ Offered Problems A tew research were Barrymore Starred in a ‘Bounty’ problems salvei Drama of the Old South by accident. The most notable one concerned the whereabouts of Capt. years of Intensive research to Hollywood—and not until then were 25 Years in Pictures Bligh’s original logs. were required to prepare the replicas of the Bounty and Pan- Director Prank Lloyd had hunted Metro-Qoldwyn-Mayer’s, "Mu- dora built, the wardrobe designed, the two years for them without success. TWOtiny on the Bounty," for the authentic settings constructed. While filming the South Sea sequences Lionel New Contract screen. The research project produced many Anniversary Brings In Tahiti Lloyd and Author James From the first to bring unusual stories. Director Frank Lloyd Inspiration Nonfian Hall were discussing the logs and Lead in “Silas Marner”—Mystery to the screen the James unearthed in a mouldy London book- thrilling In the Blue Lagoon Hotel In Norman HaD-Charles Nordhoff novel shop a complete text book of the Brit- Papeete. A little white-haired woman arose Cards Arrive the Pound, about the famous mutiny ship, Irving ish admiralty’s regulations of the by from a nearby table and introduced O. Thai Insisted that no stone eighteenth century published In 1757, berg herself to Director BY E. de S. MELCHER. should remain unturned to make the which served as a valuable aid to Lloyd. She had and hour since Lionel Barry- overheard the discussion and informed •7 » T 18 almost 25 years to the day (8:45 am.) picture authentic in every detail. -
The Museum of Modern Art Celebrates Vienna's Rich
THE MUSEUM OF MODERN ART CELEBRATES VIENNA’S RICH CINEMATIC HISTORY WITH MAJOR COLLABORATIVE EXHIBITION Vienna Unveiled: A City in Cinema Is Held in Conjunction with Carnegie Hall’s Citywide Festival Vienna: City of Dreams, and Features Guest Appearances by VALIE EXPORT and Jem Cohen Vienna Unveiled: A City in Cinema February 27–April 20, 2014 The Roy and Niuta Titus Theaters NEW YORK, January 29, 2014—In honor of the 50th anniversary of the Austrian Film Museum, Vienna, The Museum of Modern Art presents a major collaborative exhibition exploring Vienna as a city both real and mythic throughout the history of cinema. With additional contributions from the Filmarchiv Austria, the exhibition focuses on Austrian and German Jewish émigrés—including Max Ophuls, Erich von Stroheim, and Billy Wilder—as they look back on the city they left behind, as well as an international array of contemporary filmmakers and artists, such as Jem Cohen, VALIE EXPORT, Michael Haneke, Kurt Kren, Stanley Kubrick, Richard Linklater, Nicholas Roeg, and Ulrich Seidl, whose visions of Vienna reveal the powerful hold the city continues to exert over our collective unconscious. Vienna Unveiled: A City in Cinema is organized by Alexander Horwath, Director, Austrian Film Museum, Vienna, and Joshua Siegel, Associate Curator, Department of Film, MoMA, with special thanks to the Österreichische Galerie Belvedere. The exhibition is also held in conjunction with Vienna: City of Dreams, a citywide festival organized by Carnegie Hall. Spanning the late 19th to the early 21st centuries, from historical and romanticized images of the Austro-Hungarian empire to noir-tinged Cold War narratives, and from a breeding ground of anti- Semitism and European Fascism to a present-day center of artistic experimentation and socioeconomic stability, the exhibition features some 70 films. -
Ucla Festival of Preservation
Saving Film & Television for Future Generations UCLA FESTIVAL OF PRESERVATION UCLA Film & Television Archive’s signature biennial film festival screens Friday, February 15 - Sunday February 17, 2019 at the Billy Wilder Theater at the Hammer Museum in Westwood FOR IMMEDIATE RELEASE Los Angeles, CA (February 8, 2019)—The UCLA Film & Television Archive presents its biennial celebration of films preserved and restored by the world-renowned preservation department during its first-ever three-day UCLA Festival of Preservation, February 15-17, 2019. Each day the Festival will offer an eclectic survey of the Archive's latest restoration work, headlined by director Frank Borzage's WWII classic The Mortal Storm (1940) with James Stewart and Margaret Sullavan. The Festival will showcase rarely seen silent films, classic Hollywood, golden- age TV treasures, Laurel and Hardy, film noir thrillers, animation and much more. As in years past, the Festival will be a “deep dive into the seldom-explored sea that is American film history, alternating between extreme rarities seen nowhere else and new prints of beloved movie classics,” wrote Los Angeles Times film critic Kenneth Turan. “Previously [since 1988] spread out over an entire month, this year we decided to schedule the Festival of Preservation as a long weekend event,” says Jan-Christopher Horak, Ph.D., director of the UCLA Film & Television Archive. “We believe this will provide more of a festival environment and allow our film-loving audience to see a cornucopia of films over the long weekend. We begin the Festival Friday morning with a delightful 1930s Fox musical comedy, My Lips Betray (dir. -
THE APPRENTICESHIP of ROBERT ANDERSON. The
This dissertation has been microfilmed exactly as received 70-6715 AYERS, David Hugh, 1924- THE APPRENTICESHIP OF ROBERT ANDERSON. The Ohio State University, Ph.D., 1969 Theater University Microfilms, Inc., Ann Arbor, Michigan ( c ) David Hugh Ayers 1970 ALL RIGHTS RESERVED THE APPRENTICESHIP OF ROBERT ANDERSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David Hugh Ayers, B.A., H.A. ****** The Ohio State University 1969 Approved by ^ __ ^XCo-Adviser D^ision of Theatre ^ Co-Adviser Division of Theatre PREFACE For over fifteen years, Robert Anderson has been recognized as a major American playwright, but no full-length critical consider ation of his work has been undertaken. This first comprehensive treat ment of his career developed as an outgrowth of the American Play wrights Theatre program. As Executive Director of the APT project for the past six years, ray association with Mr. Anderson in connec tion with fifty nationwide APT productions of his play. The Days Between, resulted in some of the most rewarding and stimulating ex periences of my life. Inspired initially by admiration for the man and his work, the present study grew out of the realization that a wealth of material has accumulated over the period of this associa tion in the form of letters, tape-recorded broadcasts, various re visions of The Days Between, the author's notes on interpretation, etc., which could serve as valuable sources of information for future biographers, critics, historians, and play directors. The purpose of the dissertation is twofold: to present a professional biography of Robert Anderson and to provide explication of his major plays through an examination of his development as a playwright and by the inclusion of Mr. -
Como Agua Para Chocolate Cine Y Malabarismo Tú Me Quieres Blanca Los Viudos De Margaret Sullavan Llamadas Telefónicas Un Ensay
LECCIÓN 1 Golpe AL CORAZÓN CONTENIDO CINE 4 Como agua para chocolate Alfonso Arau La magia de la cocina dará vida a un amor frustrado por la tradición. CUENTO 12 Cine y malabarismo Ángeles Mastretta El mundo de Inés cambió para siempre tras una llamada. POEMA 20 Tú me quieres blanca Alfonsina Storni La poetisa reacciona frente a las absurdas pretensiones masculinas. CUENTO 28 Los viudos de Margaret Sullavan Mario Benedetti La idealización de una estrella de cine une a dos admiradores. CUENTO 36 Llamadas telefónicas Roberto Bolaño La historia de un amor no correspondido tiene un desenlace inesperado. ESCRITURA 44 Un ensayo literario interpretativo REPASO GRAMATICAL: Los verbos ser y estar Las preposiciones ITG2e_L01_002-003_LO.inddITG2e_spread_template.indd 2-3 2 02/09/2015 12:20:07 p.m. ITG2e_L01_002-003_LO.indd 3 02/09/201514/09/2015 12:20:0809:31:18 p.m.a.m. 4 CINE Prepárate LECCIÓN 1 Golpe al corazón 5 SOBRE EL DIRECTOR CONTEXTO CULTURAL lfonso Arau nació en El realismo mágico Ciudad de México en La magia es un lugar donde A1932. Antes de empezar hay castillos encantados, a dirigir, se dedicó al mundo hechicerosº y dragones. del espectáculo de diversas La realidad es un lugar maneras: fue comediante, cotidiano, donde hay bailarín, cantante, guionista edificios, policías de tránsito y actor de cine y de teatro. y gente que saca a pasear a su Siempre inquietoº, viajó por todo el mundo durante perro. En el realismo mágico la división no es tan cuatro años (1964–1968) haciendo un espectáculo clara. Imaginemos un edificio que desaparece tras unipersonal de pantomimas. -
Discussion Questions for Women in Film Gathering, June 19, 2012
1 Discussion Questions for Women in Film Gathering, June 19, 2012: Focal Film: The Apartment (1960; U.S.; Co‐written and Directed by Billy Wilder) Billy Wilder (1906‐2002) was one of the 20th century’s most respected writer/directors working in film. Born in Austria‐Hungary, he first wrote films for the German “national” studio, UFA. He was strongly influenced by a director who had earlier emigrated from Germany to the U.S.—Ernst Lubitsch. Both of these men were noted for their sophisticated comedies and elegantly constructed dramas, and in The Apartment, we may get both. Both men produced films of great distinction, handily earning the title of “auteur” of their works. And both frequently visited notions of gender roles, and relationships between the sexes. Some of Lubitsch’s films you might recognize are Ninotchka (with Greta Garbo and Melvin Douglas), Shop Around the Corner (with Jimmy Stewart and Margaret Sullavan; remade twice, lastly as You’ve Got Mail), and To Be or Not To Be (with Jack Benny and Carole Lombard). Important Billy Wilder films include Ninotchka (which he co‐wrote for Lubitsch), and the many films he both wrote or co‐wrote and directed, such as Double Indemnity (with Barbara Stanwyck and Fred MacMurray), The Lost Weekend (with Ray Milland), Sunset Boulevard (with Gloria Swanson and William Holden), Stalag 17 (with William Holden), Sabrina (with Audrey Hepburn, Humphrey Bogart, and William Holden), The Seven Year Itch (with Marilyn Monroe), Some Like It Hot (with Marilyn Monroe, Tony Curtis, and Jack Lemmon), Irma la Douce (with Shirley MacLaine and Jack Lemmon), and The Fortune Cookie (the first pairing of Jack Lemmon and Walter Matthau; set and partially shot in Cleveland, BTW). -
Hollywood and the Coming of World War II . by David Welky. Baltimore
Book Reviews The Moguls and the Dictators: Hollywood and the Coming of World War II. By David Welky. Baltimore: Johns Hopkins University Press, 2008. xi + 416 pp. $46.00 cloth. The work under review “seeks to explain how and why” Hollywood turned its “gigantic engines of propaganda” against the fascist dictators (2). At fi rst reluctant to engage in politics on or off screen, the studio heads or moguls had, by 1940, rejected isolationism and sought to convince Americans that Europe’s war also belonged to them. The moguls’ journey into politics is Welky’s story. Their initial hesitation gave way to unique infl uence. Hol- lywood emerged as an opponent of Nazism, a defender of aid to Britain, 142 THE SPACE BETWEEN even a clear supporter of FDR’s interventionist foreign policy. As the author observes, from the mid-1930s to the early 1940s, movies “mattered … more than at any time before or since” (4). Welky’s book also matters, despite its fl aws. The work’s strength lies in its account of the period 1936-1939 when Hollywood made the tran- sition to politics. In recounting the years of engagement, 1940-41, Welky is less successful. Hollywood had good reason for political timidity even as Hitler’s regime grew more threatening. Judaism, Welky notes, constituted “the third rail of Hollywood’s politics” (169). Fearful of anti-Semitism, the moguls insisted that their productions existed only to entertain. Samuel Goldwyn summed up the medium’s operative rule: if you have a message, send a telegram. But the pressure to respond to the threat of war in Europe proved irresistible, even for Hollywood.