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La Construcción Histórica En La Cinematografía Norteamericana
Tesis doctoral Luis Laborda Oribes La construcción histórica en la cinematografía norteamericana Dirigida por Dr. Javier Antón Pelayo Facultad de Filosofía y Letras Departamento de Historia Moderna Universidad Autónoma de Barcelona 2007 La historia en la cinematografía norteamericana Luis Laborda Oribes Agradecimientos Transcurridos ya casi seis años desde que inicié esta aventura de conocimiento que ha supuesto el programa de doctorado en Humanidades, debo agradecer a todos aquellos que, en tan tortuoso y apasionante camino, me han acompañado con la mirada serena y una palabra de ánimo siempre que la situación la requiriera. En el ámbito estrictamente universitario, di mis primeros pasos hacia el trabajo de investigación que hoy les presento en la Universidad Pompeu Fabra, donde cursé, entre las calles Balmes y Ramon Trias Fargas, la licenciatura en Humanidades. El hado o mi más discreta voluntad quisieron que iniciara los cursos de doctorado en la Universidad Autónoma de Barcelona, donde hoy concluyo felizmente un camino repleto de encuentros. Entre la gente que he encontrado están aquellos que apenas cruzaron un amable saludo conmigo y aquellos otros que hicieron un alto en su camino y conversaron, apaciblemente, con el modesto autor de estas líneas. A todos ellos les agradezco cuanto me ofrecieron y confío en haber podido ofrecerles yo, a mi vez, algo más que hueros e intrascendentes vocablos o, como escribiera el gran bardo inglés, palabras, palabras, palabras,... Entre aquellos que me ayudaron a hacer camino se encuentra en lugar destacado el profesor Javier Antón Pelayo que siempre me atendió y escuchó serenamente mis propuestas, por muy extrañas que resultaran. -
George Ade Papers
A GUIDE TO THE GEORGE ADE PAPERS PURDUE UNIVERSITY LIBRARIES ARCHIVES AND SPECIAL COLLECTIONS © Purdue University, West Lafayette, Indiana Last Revised: July 26, 2007 Compiled By: Joanne Mendes, Archives Assistant TABLE OF CONTENTS Page(s) 1. Descriptive Summary……………………………………………….4 2. Restrictions on Access………………………………………………4 3. Related Materials……………………………………………………4-5 4. Subject Headings…………………………………………………….6 5. Biographical Sketch.......................………………………………….7-10 6. Scope and Content Note……….……………………………………11-13 7. Inventory of the Papers…………………………………………….14-100 Correspondence……...………….14-41 Newsletters……………………….....42 Collected Materials………42-43, 73, 99 Manuscripts……………………...43-67 Purdue University……………….67-68 Clippings………………………...68-71 Indiana Society of Chicago……...71-72 Scrapbooks and Diaries………….72-73 2 Artifacts…………………………..74 Photographic Materials………….74-100 Oversized Materials…………70, 71, 73 8. George Ade Addendum Collection ………………………………101-108 9. George Ade Filmography...............................................................109-112 3 Descriptive Summary Creator: Ade, George, 1866-1944 Title: The George Ade Papers Dates: 1878-1947 [bulk 1890s-1943] Abstract: Creative writings, correspondence, photographs, printed material, scrapbooks, and ephemera relating to the life and career of author and playwright George Ade Quantity: 30 cubic ft. Repository: Archives and Special Collections, Purdue University Libraries Acquisition: Gifts from George Ade, James Rathbun (George Ade's nephew by marriage and business manager), -
Complete List of Silent Films Featuring Journalists and Journalism 1920-1929 (Each Film Is Annotated in the Appendices 12-21)
Complete List of Silent Films Featuring Journalists and Journalism 1920-1929 (Each film is annotated in the appendices 12-21) 1920 Always Audacious Amateur Devil, An Amazing Woman, The Bab's Candidate (Newspaper) Beggar in Purple, A Behold My Wife (newspaper) Below The Surface (newspaper) Biff! Bang!! Bomb!!! Big Happiness (newspaper) Blind Youth (critics) Branded Woman, The (newspaper) Burton Holmes Travelogues Cameraman, The Capitol, The Chains of Evidence Cinderella's Twin (magazine) Clever Cubs Dangerous Love Deadline at Eleven Demoracy -- The Vision Restored Desperate Hero, The Devil's Pass Key, The Dinty Do the Dead Talk Editorial Horseplay Fear Market, The Figurehead, The Find the Girl (aka Beaucitron reporter) Flying Pat Food for Scandal Fourth Face, The (aka The Mystery of Washington Square) Go and Get It Great Round-Up, The Green Flame, The Heart of Twenty, The Hearst News No. 49 Held by the Enemy Heliotrope Herbert Kaufman Weekly, The Hidden Light, The Homespun Folks Honor Bound House of the Tolling Bell, The Hy Mayer Such is Life Series In the Heart of a Fool International News No. 5 International News No. 84 Jailbird, The Jerry on the Job: Bomb Idea, The Joyous Troublemaker, The Keyhole Reporter, The Law of the Yukon, The Leap Year Leaps Lion Man, The: Episode Two: Rope of Death Lion Man, The: Episode Three:Kidnappers Lion Man, The: Episode Four: Devilish Device, A Lion Man, The: Episode Five: In the Lion's Dean Lion Man, The: Episode Six: House of Horrors Lion Man, The: Episode Seven: Doomed Lion Man, The: Episode Eight: -
Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012
Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs. -
Inarch 1930 ^9 Centos a Copy
inarch 1930 ^9 Centos a Copy Fay V^fay ‘Puhlicationfr "Professionals --^oimateurs A FEW MORE OF OUR CURRENT PHOTOGRAPHIC SUCCESSES Cameramen ^^Benson Murder Case^^—Paramount Archie Stout ''Only The Brave^'—Paramount Harry Fishbeck "Their Own Desire"—M, G. M Wm. Daniels "A Lady To Love"—M, G, M Merritt Gerstad "Beau Bandit"—R, K. O Jack MacKenzie "Framed"—R» K. O Leo Tover "The Case of Sergeant Grischa"—R* K* O, Roy Hunt "Puttin^ On The Ritz"—United Artists Ray June "Last Dance"—Audible Pictures M. A. Andersen "The Grand Parade"—Pathe David Abel "Her Private Affair"—Pathe Norbert Brodin "Larry Darmour Comedies"—R» K. O. James Brown "Christy Comedies"—Paramount Gus Peterson "Educational Comedies"—Educational Dwight Warren and Wm. Hyers "Mack Sennett Comedies"—Educational . John Boyle and Ernest Crockett “THE mm) TRADE MARK HAS NEVER BEEN PLACED ON AN INFERIOR PRODUCT” Smith & Aller, Inc. Pacific Coast Distributors 6656 Santa Monica Blvd. Hollywood 5147 for DuPont Pathe Film Mfg. Corp. 35 West 45th St., New York City March, 1930 American Cinematographer One A Scene from “Come Out of the Kitchen,” a Paramount Production starring Nancy Carroll with Stanley Smith those those lips - -! Every thrilling curve of her hody is alive fingers of light! And the soft orange light with life . light fills her eyes, dances on struck from National Panchromatic Car- her lips—good photography plus National bons (soft-arc) makes dark eyes more Photographic Carbons ! These carbons give bewitching . allows the baby star to be the cameraman a chance to reach behind photographed in all her peaches and cream his shoulders and pat himself on the back. -
Descriptive Catalogue of Kodascope Library Motion
uJeseiipttve Catalogue of KOBASCOFE LIBRARY MoHon Pictures Fifth Edition Scanned from the collection of Karl Thiede Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from David Pierce Digitized by the Internet Archive in 2011 with funding from Media History Digital Library http://www.archive.org/details/descriptivecatal05koda Fifth Edition Descriptive Catalogue of KODASCOPE LIBRARY MOTION PICTURES Containing many additional subjects, sub- stantial reductions in rental prices, and the elimination of some of the earlier subjects. PRICE 25 CENTS KODASCOPE LIBRARIES, INC A Subsidiary of The Eastman Kodak Co. 33 WEST 42nd STREET NEW YORK See page two for list of American Libraries. FOREIGN LIBRARIES Batavia Colombo Manila Rio dc Janeiro Berlin Copenhagen Medan Shanghai Bombay Gothenburg Melbourne Singapore Brussels The Hague Mexico City Soerabaja Budapest Havana Milan Sydney Buenos . lires Lausanne Nairobi Vienna Cairo Lisbon Oslo Valparaiso Calcutta London Penang Wellington Capetown Madrid Paris COPYRIGHT. H'32 A FILM LIBRARY Here is a circulating library of motion pictures. Hundreds of subjects—thousands of copies— all on slow-burning film which can be used anywhere without hazard. Kodascope Libraries offer their patrons the large.-t and most complete collection of entertainment, amusement and instructive subjects available—more than are con- tained in all other home libraries combined. As the pioneers in the field of furnishing motion pictures for the home, with the experience gained in many years of success- ful operation, with a world-wide organization, as a subsidiary of the Eastman Kodak Company, and with a profound sense of our responsibility, we accept the obligations of acknowledged leader- ship. -
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John Ford Sont Liés Aux Événements Fondateurs De L'histoire Des États-Unis
Entre les deux films du vendredi le CCB vous invite à un moment convivial dans l’espace réservé à cet effet dans le hall de Monciné. Les 9 et 10 février 2018 Au cours de cette pause,Cécile Gornet* dédicacera son livre paru en juillet 2017 chez Classiques Garnier, dans la collection « Recherches Cinématographiques » dirigée par José à Moure. Le Ciné-club Biterrois vous propose l’événement du trimestre Comme tous les films du genre, les westerns de John Ford sont liés aux événements fondateurs de l'histoire des États-Unis. Mais on ne saurait les réduire à des films historiques. Car c'est moins la trame des événements qu'ils mettent en scène que sa mise en forme. En articulant le présent au passé, en accueillant la contingence et la singularité du réel, en questionnant le rapport entre vérité et illusion, ces films réflé- chissent les enjeux épistémologiques de l'histoire. Cette étude aborde ainsi ces westerns comme des films métahistoriques et analyse les effets de re- doublement que produit, sur l'écriture cinématographique de Ford, cette rencontre avec l'écriture de l'his- toire. John Ford (1894-1973) * Cécile Gornet : professeur de philosophie au lycée Henri IV, prépare une thèse d'études cinématographiques sur John Ford à l'Université Paris 1 Panthéon Sorbonne Le cinéclub biterrois consacre un week-end à cet immense cinéaste, né presqu'en même temps que le cinéma, auteur d'une filmo- Ce week-end sera prolongé par une séance d'analyse graphie gigantesque au cours de laquelle il rencontre presque tous les filmique à la MJC le jeudi 15 février à 18h30 Nous nous pencherons plus particulièrement sur certains aspects de son cinéma comme la place des genres et passe de la production de studio à la production indépen- femmes ou des Indiens ; et nous essaierons d'analyser l'influence qu'il a pu exercer sur d'autres cinéastes, dante. -
Tricks of the Light
Tricks of the Light: A Study of the Cinematographic Style of the Émigré Cinematographer Eugen Schüfftan Submitted by Tomas Rhys Williams to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). -
La Lectora De Fontevraud
LA LECTORA DE FONTEVRAUD LA LECTORA DE FONTEVRAUD Derecho e Historia en el Cine. La Edad Media Enrique SAN MIGUEL PÉREZ Editorial Dykinson Todos los derechos reservados. Ni la totalidad ni parte de este libro, incluido el diseño de la cubierta, puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra solo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos) si necesita fotocopiar o escanear algún fragmento de esta obra (www.conlicencia.com; 91 702 19 70 / 93 272 04 47) © Copyright Enrique San Miguel Pérez Editorial DYKINSON, S.L. Meléndez Valdés, 61 - 28015 Madrid Teléfono (+34) 91544 28 46 - (+34) 91544 28 69 e-mail: [email protected] http://www.dykinson.es http://www.dykinson.com Consejo editorial véase www.dykinson.com/quienessomos ISBN: 978-84-9031-838-6 Depósito Legal: M-34894-2013 Preimpresión: Besing Servicios Gráficos [email protected] cine.indd 6 10/12/2013 16:44:24 Para Lourdes San Miguel Gutiérrez, después de Chinon ÍNDICE Presentación: una lectora en Fontevraud ..................... 15 1. Civilización: escapar de la magia de los recuerdos .......................................................... 19 2. ¿Qué Edad Media?: adorar lo imposible ................ 25 3. Medievo del derecho: reconstruir el pasado tal como debió ser ................................................ 43 4. La acción política y de gobierno: sobre el rey ....... 55 5. Europa y Oriente: o hacia el horizonte, o hacia el poder ................................................................ 69 6. El nacimiento de la identidad: extender el amor a la virtud y la sabiduría ....................................... -
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. -
Dr. Philip Cowan Creative Industries Research Institute, Faculty of Creative Industries, University of South Wales, Atrium Campus, Cardiff, CF24 2FN, UK
Dr. Philip Cowan Creative Industries Research Institute, Faculty of Creative Industries, University of South Wales, Atrium Campus, Cardiff, CF24 2FN, UK This is the final submitted version of the published article*; Cowan, P. (2017) “Analyzing Stylistic Patterning in Film to Establish the Cinematographer as Coauthor: A Case Study of Gregg Toland” in Projections: The Journal for Movies and the Mind 11:1. S. Prince (ed.), pp. 16-37. New York: Berghahn Journals, ISSN: 1934-9688. *This version includes thirty-four figures, as opposed to the six included in the published article. Analyzing Stylistic Patterning in Film to Establish the Cinematographer as a Co-Author: A Case Study of Gregg Toland Abstract Can the authorial contribution of the individual cinematographer to classical, narrative-based film be identified and attributed? This article addresses this specific question, but the specific case of the cinematographer must acknowledge the wider debates about film authorship. The article examines contemporary attitudes to co-authorship in film, highlighting the fact that, in terms of cinematography, most commentators still defer to directors when discussing the creation of meaning within images. While examining the works of Gregg Toland and William Wyler, the article evaluates authorial attribution by means of a comparison between the films they made together and the films they made separately. In order to do this, the article defines a method for establishing authorship within the film image. Toland is a prime historical example of a cinematographer whose authorial contribution has been severely underestimated in the pursuit of glorifying the directors he worked with (Orson Welles, John Ford, and William Wyler).