Estelle Taylor Ç”Μå½± Ä¸²È¡Œ (Å¤§Å…¨)

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Estelle Taylor ç”µå½± ä¸²è¡Œ (å¤§å…¨) Desire https://zh.listvote.com/lists/film/movies/desire-3024431/actors Playthings of Desire https://zh.listvote.com/lists/film/movies/playthings-of-desire-7203552/actors A California Romance https://zh.listvote.com/lists/film/movies/a-california-romance-62901969/actors Call Her Savage https://zh.listvote.com/lists/film/movies/call-her-savage-827179/actors The Whip Woman https://zh.listvote.com/lists/film/movies/the-whip-woman-18393957/actors Frisco Kid https://zh.listvote.com/lists/film/movies/frisco-kid-927963/actors A Fool There Was https://zh.listvote.com/lists/film/movies/a-fool-there-was-3602473/actors Bavu https://zh.listvote.com/lists/film/movies/bavu-19946029/actors Tiger Love https://zh.listvote.com/lists/film/movies/tiger-love-19363929/actors The Revenge of Tarzan https://zh.listvote.com/lists/film/movies/the-revenge-of-tarzan-2812280/actors Liliom https://zh.listvote.com/lists/film/movies/liliom-3240856/actors Blind Wives https://zh.listvote.com/lists/film/movies/blind-wives-4926622/actors Monte Cristo https://zh.listvote.com/lists/film/movies/monte-cristo-3861494/actors Where East Is East https://zh.listvote.com/lists/film/movies/where-east-is-east-3258661/actors While New York Sleeps https://zh.listvote.com/lists/film/movies/while-new-york-sleeps-7993616/actors Lady Raffles https://zh.listvote.com/lists/film/movies/lady-raffles-27981637/actors æˆå ä ººç”Ÿ https://zh.listvote.com/lists/film/movies/%E6%88%8F%E5%AD%90%E4%BA%BA%E7%94%9F-1366541/actors https://zh.listvote.com/lists/film/movies/960499/actors é˜¿æ‹‰æ–¯åŠ äºº https://zh.listvote.com/lists/film/movies/%E9%98%BF%E6%8B%89%E6%96%AF%E5%8A%A0%E4%BA%BA-7712991/actors å”ç ’œ (1926å¹´é›»å½±) https://zh.listvote.com/lists/film/movies/%E5%94%90%E7%92%9C-%281926%E5%B9%B4%E9%9B%BB%E5%BD%B1%29-2570819/actors åè ¯« (1923å¹´ç”µå½±) https://zh.listvote.com/lists/film/movies/%E5%8D%81%E8%AF%AB-%281923%E5%B9%B4%E7%94%B5%E5%BD%B1%29-1217715/actors å“ˆé “å»³çš„å¤šè˜¿è¥¿Â·å¼ https://zh.listvote.com/lists/film/movies/%E5%93%88%E9%A0%93%E5%BB%B3%E7%9A%84%E5%A4%9A%E8%98%BF%E8%A5%BF%C2%B7%E5%BC%97%E8%BE%B2- —è¾² 2054754/actors å£®å¿—åƒ ç§‹ https://zh.listvote.com/lists/film/movies/%E5%A3%AE%E5%BF%97%E5%8D%83%E7%A7%8B-251997/actors æœªå©šå¦ˆå¦ˆ https://zh.listvote.com/lists/film/movies/%E6%9C%AA%E5%A9%9A%E5%A6%88%E5%A6%88-1212450/actors å— æ–¹äºº https://zh.listvote.com/lists/film/movies/%E5%8D%97%E6%96%B9%E4%BA%BA-1195531/actors.

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Spf-Vwcaul A
DEC. 3, 1932_ THE INDIANAPOLIS TIMES PAGE 5 HAYDN BICENTENNIAL CONCERT TO BE GIVEN TUESDAY Clara Bow, After a Long Absence, Returns to the Talking Indianapolis Saengerbund Will Give Its First Program of # Screen at the Apollo in Tiffany Thayer’s Greatly R| <*■ ->i _. the Current Season Sunday Afternoon at Knights Discussed ‘Call Her Savage.’ nt Wx 4- j of Columbus Auditorium. ‘/'NALL HER SAVAGE," Clara Bow’s long-awaited starring picture second concert of the Indianapolis Symphony orchestra will be v-4 *or Fox 1* current 44 the attraction at the Apollo theater, where at hall it wijl for THEheld Tuesday night, Dec. 6. Caleb Mills at 8:30 o'clock. remain a limited engagement. Ors occasion, will The photoplay this the orchestra celebrate the bicentennial of new is said to bring a new, more poised, dignified Franz Joseph Haydn, and will be assisted and emotional star for the delight of her by the Haydn festival chorus, countless fans. under direction of Elmer A. Steffen. As Nasa, dynamic heroine of Tiffany Thayer’s Bow drama. Miss Last summer, Mrs. Frank Cregor. president of the Matinee Musicale, touches every human emotion in what is reputed to be the Strongest screen story of her career. conceived the idea of the Haydn festival, and quickly won enthusiasts §* to her cause. With a background of elaborate settings and an all-featured cast IBjPB| Miss Bow discards the flapperisms made J 8 tft Members of the Matinee Musicale Chorale comprise a large part of that portrays hL her famous, and a tensely-dramatlc role and depicts the chorus composed also of members from church choirs and high the rich emotionalism of mother school choruses.
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Hollywood on the Hudson Surveys New York's Role In
HOLLYWOOD ON THE HUDSON SURVEYS NEW YORK’S ROLE IN THE ESTABLISHMENT OF MODERN AMERICAN FILMMAKING BETWEEN THE TWO WORLD WARS Hollywood on the Hudson: Filmmaking in New York, 1920–39 September 17 - October 19, 2008 The Roy and Niuta Titus Theaters New York, September 11, 2008—Hollywood on the Hudson: Filmmaking in New York, 1920- 1939, a month-long exhibition that showcases New York City’s seminal yet rarely recognized role in the establishment of the modern American film industry between the two world wars, is presented at The Museum of Modern Art, from September 17 through October 19, 2008. More than 25 feature films and many shorts, including early sound films—musicals, comedies, animated films, and documentaries—offer a survey of filmmaking in New York during the hegemony of Hollywood, from D. W. Griffith’s return from the West Coast in 1919 to the World’s Fair of 1939. Screenings include pioneering sound films shot at the Paramount Studios in Astoria, Queens, and performances by Broadway luminaries such as Louise Brooks, Marion Davies, the Marx Brothers, Gloria Swanson, and Rudolph Valentino. Hollywood on the Hudson is co-organized by Laurence Kardish, Senior Curator, Department of Film, The Museum of Modern Art; and Richard Koszarski, on whose book, Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff (Rutgers University Press, 2008), the exhibition is based. The exhibition recalls a point during which an industry built on centralized authority began to listen, for the first time, to a range of independent voices in cinema, each with their own ideas about what the movies could say and do.
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Hollywood and France, 1914-1945 Louise G
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Vive la Différence: Hollywood and France, 1914-1945 Louise G. Hilton Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hilton, Louise G., "Vive la Différence: Hollywood and France, 1914-1945" (2011). LSU Master's Theses. 1206. https://digitalcommons.lsu.edu/gradschool_theses/1206 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VIVE LA DIFFÉRENCE: HOLLYWOOD AND FRANCE, 1914-1945 A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Louise G. Hilton B. A., Louisiana State University, 2004 May 2011 ACKNOWLEDGEMENTS I wish, first of all, to thank my thesis advisor, Dr. Charles Shindo, for his counsel and infinite patience during the time I spent working on this project. Dr. Karl Roider also deserves heartfelt thanks for his unflagging support throughout my studies at LSU and for his agreeing to be a member of my thesis committee. I extend my appreciation to Dr. William Clark for giving of his valuable time to be a part of my committee.
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TORRANCE HERALD, Toffaace, Cabf
THURSDAY, DBClittfBBIt 29, TORRANCE HERALD, Toffaace, CaBf. Two Big Films AT WARNER'S THEY'RE ALL IN THE DOUGH "CALL HER SAVAGE" Tartars to See Irish-Trojan JO At Fox Redondo Offer Big Week >rigi Friday and Saturday, December Game Picture 30 nd 81, the Fox Redondo "Thca- Entertainment first "Centra! I'ark," with Joa The pausing of the alabaster the dell and Wallace Ford, la repo them. ft IB unique In bstltution of real human belnss catches a cross section lio are neither saint nor devil, variegated life that pulse ally but a mixture of both, goes on The entire first string footbaJJ through New York city's groat .pace In "Hell's Highway." the R. en of Torrarifee High ti»T« B**t» playground. It hns caught the C. O. picture playing Thursday, .vited with Coach Ponahue .,!» spirit and the vivid coloring- of its Friday and Saturday at Warner ianaser 8am Klein to b* lh| cosmopolitan life and has em «. San Pedro Theatre, in which puests of the Torrance The atMl blazoned It on the screen In a Richard Dix plays the role of a ext Sunday matinee to view tt)4 Klin" glowing- romance. ^11 of its thrill- sometimes brutal, sometimes sen- lay-by-play pictures at the Notti Ad> Ing drama, its exciting scenes, its tie convict. Dame vs. V.' S. C. football Kama' comedy and Its romance, take In one »cen? he swings a pick The theatre management will pre- place in 24 hod . with terrific force, slnkins its it the local Tartars with a foot- of an inch from Also playing Friday and Satur point a fraction 1 as a token of their good work day is "Me and My Gal" with a fellow coVivict'a feet, just to ring the past season.
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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.
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1 Mexican Film Censorship and the Creation of Regime Legitimacy
Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reyna Marie Esquivel-King, M.A. Graduate Program in History The Ohio State University 2019 Dissertation Committee: Dr. Stephanie Smith, Advisor Dr. Laura Podalsky Dr. Stanley Blake 1 Copyrighted by Reyna Marie Esquivel-King 2019 2 Abstract My dissertation, entitled, “Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945,” argues that Mexican government officials used cinema censorship to disseminate a positive image of Mexico and Mexicans as modern and prosperous, and attempted to create an appearance of stability and control. Utilizing archival sources, newspapers, journals, and film propaganda, I examine how regimes use film censorship as a tool to legitimize their power through images. Specifically, I focus on representations of women, the indigenous, and Mexicans in U.S. cinema. The officials realized the significant persuasive and influential power that visual media had over its vast and far-reaching audiences, especially the increasingly popular form of film. They saw censorship as an efficient and effective tool they could use to create and/or change the course of any given tide of public sentiment or opinion. They implemented film censorship and the use of positive imagery to serve two purposes. One reason being to convince international audiences of Mexico’s status as a modern, powerful, and independent nation. The second was to persuade domestic audiences of the Mexican government’s legitimacy to rule and restore a sense of national pride in order to breed a common desire for national unity.
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Myrna Loy ~ 46 Films and More
Myrna Loy ~ 46 Films and more Myrna Loy was born Myrna Adele Williams on 2 August 1905 in Radersburg, Montana to parents of Welsh, Scottish and Swedish descent. After her rancher father David became, at just 21, the youngest man ever elected to the Montana State Legislature, the family moved 35 miles to Helena, the state capital, which is where Myrna grew up. Frank (later Gary) Cooper, four years her senior, was a near neighbour: We lived high off the hog on Fifth Avenue. It was just a nice middle- class neighbourhood. Most of the richer families were building on the opposite mountainside. Helena is a spacious city, climbing up Mount Ascension and Mount Helena from Last Chance Gulch, so we had wonderful, steep streets. When it snowed you could slide past Judge Cooper's house all the way to the railroad station in the valley part of town. The Coopers lived just below us in a fairly elegant house with an iron fence around it.1 In 1918 a flu pandemic swept the world, and one of its countless victims was 39 year old David Williams. This prompted his widow Ella to move with children Myrna and nine year old David to Los Angeles. There Myrna attended the Westlake School for Girls where at the age of 15 she caught the acting bug. In 1924-5, she came to the attention of silver screen big-hitters Rudolph and Natacha Valentino, following which doors of opportunity began to open. Her first film, released in 1925, was What Price Beauty? Later the same year she appeared alongside young Joan Crawford in Pretty Ladies.
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Biography Denver General Subject Railroads States and Cities Misc
Biography Denver General Subject Railroads States and Cities Misc. Visual Materials BIOGRAPHY A Abeyta family Abbott, Emma Abbott, Hellen Abbott, Stephen S. Abernathy, Ralph (Rev.) Abot, Bessie SEE: Oversize photographs Abreu, Charles Acheson, Dean Gooderham Acker, Henry L. Adair, Alexander Adami, Charles and family Adams, Alva (Gov.) Adams, Alva Blanchard (Sen.) Adams, Alva Blanchard (Sen.) (Adams, Elizabeth Matty) Adams, Alva Blanchard Jr. Adams, Andy Adams, Charles Adams, Charles Partridge Adams, Frederick Atherton and family Adams, George H. Adams, James Capen (“Grizzly”) Adams, James H. and family Adams, John T. Adams, Johnnie Adams, Jose Pierre Adams, Louise T. Adams, Mary Adams, Matt Adams, Robert Perry Adams, Mrs. Roy (“Brownie”) Adams, W. H. SEE ALSO: Oversize photographs Adams, William Herbert and family Addington, March and family Adelman, Andrew Adler, Harry Adriance, Jacob (Rev. Dr.) and family Ady, George Affolter, Frederick SEE ALSO: oversize Aichelman, Frank and Agnew, Spiro T. family Aicher, Cornelius and family Aiken, John W. Aitken, Leonard L. Akeroyd, Richard G. Jr. Alberghetti, Carla Albert, John David (“Uncle Johnnie”) Albi, Charles and family Albi, Rudolph (Dr.) Alda, Frances Aldrich, Asa H. Alexander, D. M. Alexander, Sam (Manitoba Sam) Alexis, Alexandrovitch (Grand Duke of Russia) Alford, Nathaniel C. Alio, Giusseppi Allam, James M. Allegretto, Michael Allen, Alonzo Allen, Austin (Dr.) Allen, B. F. (Lt.) Allen, Charles B. Allen, Charles L. Allen, David Allen, George W. Allen, George W. Jr. Allen, Gracie Allen, Henry (Guide in Middle Park-Not the Henry Allen of Early Denver) Allen, John Thomas Sr. Allen, Jules Verne Allen, Orrin (Brick) Allen, Rex Allen, Viola Allen William T.
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Vitaphone Brochure (1927)
VtTAPHDM The Biggest Thing In The Last Forty Years periments at the studio of the firm AX ORE THAN twenty-five years in Brooklyn. Then \yr C. DURANT, regarded in business as one there came a ago, H. G. Wells, in “When period of depression and likewise * the Sleeper Wakes,’’ described an of the leading figures in the security market, periods of exultation. A time came invention of the future. On a smooth when the engineers, carried predicted in 1 908 that General Motors would earn away by white surface, a yard square, “The a new lead and a new promise, for- Sleeper” saw miniature more money than the United States Steel Corpora- human fig- got to eat and worked all night. ures moving about and heard them tion. That prediction, which in 1 908 sounded fan- Screen History talk and sing. It was ‘ ‘ exactly like tastic, has become part of financial history in reality, viewed through an inverted 1927. Bit by bit things got clearer and opera glass and heard hope became stronger, with the re- through a long Recently Mr. Durant volunteered another predic- tube. ’ ’ sult that the Warners plunged deep- At that time, when both phono- tion. In an interview with B. C. Forbes that ap- er into the enterprise by taking over the huge and graphs and motion pictures were peared in Forbes’ Magazine for February, he said: expensive Manhattan doubtful experiments, Wells’s imag- Opera House in New York for the ination performed the feat of pre- continuation of the experiments and ||' I HE thing that has the biggest possibilities of dicting them, not only perfected, but as a studio for the screening of ar- tists.
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Bibliography Filmography
Anne Bauchens Lived: February 2, 1882 - May 7, 1967 Worked as: editor Worked In: United States by Kristen Hatch Anne Bauchens was a St. Louis, Missouri native who, at the age of twenty, moved to New York City in the hope of becoming an actor and was hired by William de Mille as a typist and stenographer in 1912. Five years later, she traveled to Hollywood to help William’s brother, producer-director Cecil B. De Mille, edit We Can’t Have Everything (1918). DeMille is quoted in the Los Angeles Herald Examiner as saying about her that “though a gentle person, professionally she is as firm as a stone wall . We argue over virtually every picture” (III 3). Nonetheless, she was the only person the director would permit to edit his films and continued working with him until his death in 1959. See also: Hettie Grey Baker, Margaret Booth, Winifred Dunn, Katherine Hilliker, Viola Lawrence, Jane Loring, Irene Morra, Blanche Sewell, Rose Smith Bibliography The bibliography for this essay is included in the “Cutting Women: Margaret Booth and Hollywood’s Pioneering Female Film Editors” overview essay. Filmography A. Archival Filmography: Extant Film Titles: 1. Anne Bauchens as Editor Till I Come Back to You. Dir. Cecil B. DeMille, sc.: Jeanie Macpherson, ed.: Anne Bauchens (Famous Players-Lasky Corp. US 1918) cas.: Fryant Washburn, Florence Vidor, si., b&w, 6 reels, 35mm. Archive: George Eastman Museum [USR], Academy Film Archive [USF]. Don’t Change Your Husband. Dir. Cecil B. DeMille, sc.: Jeanie Macpherson, ed.: Anne Bauchens (Famous Players-Lasky Corp.
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Riddle-1-Bourbon Chapter Four Paramount Studios Paramount
Riddle-1-Bourbon Chapter Four Paramount Studios Paramount-Lasky Studios were located on the corner of Sunset Boulevard and Vine Street. There were five enormous glass stages – the roofs being made of glass made it possible to get lots of sunlight and less arcs and spotlights were necessary for shooting a picture. This was all quite some time before talking pictures were ever thought possible; they were discussed, but not believed. In the early 1920’s, when Rudolph Valentino and Gloria Swanson were two of the greatest silent motion picture stars, I was under contract to Paramount Pictures, the same studio they were under contract to. Another up and comer at that time was a handsome and talented young man, William Boyd. He later became Hopalong Cassidy. There were six of us men called stock players and about twenty or thirty stock girls. When a picture was in need of bit players or small parts, the stock players were always used. It seemed there were never enough stock girls to go around. I never knew why. Usually, if the job was a little rough for the girls, some of the men in stock were sent to the make-up department, then to wardrobe, and they did the parts the girls wouldn’t or couldn’t play. Gloria Swanson and Rudolph Valentino were making a picture called Beyond the Rocks. They were shooting most of it on a yacht in Catalina bay. They tried the first few days with the stock girls, but they’d get too seasick and just couldn’t make it.
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Don Juan Regia Alan Crosland Cast: John Barrymore, Mary Astor; Warner Oland, Estelle Taylor 126’, 1926
Don Juan Regia Alan Crosland Cast: John Barrymore, Mary Astor; Warner Oland, Estelle Taylor 126’, 1926 Recensione a cura di Enrico Pantalone Tutti pensano a “Il Cantante Pazzo” ed a Al Jolson quando parlano di primo film sonoro (in realtà era un muto con due o tre canzoni innescate nei momenti cruciali), invece il primo film interamente sincronizzato con una banda musicale fu proprio questo, il Don Juan di Alan Crosland (che poi dirigerà anche Jolson nei suoi primi film parlati) , voluto fortemente dai fratelli Warner, tedeschi emigrati in America e con grande fortuna divenuti magnati dell’industria cinematografica, i quali non erano in condizioni disperate quando lanciarono il nostro film, avevano investito da tempo su questa nuova tecnologia e sapevano che i tempi erano oramai maturi per la grande prima, non si fidarono molto a lanciarsi subito nell’avventura totale, ma gli incoraggianti risultati ottenuti con Don Juan li spinsero ad accelerare le produzioni seguenti. Il film narra la vicenda di Don Giovanni in una Roma sommersa dallo strapotere dei Borgia (Warner Oland/Cesare ed Estelle Taylor/Lucrezia) e dalla loro cricca, i due attori sembrano divertirsi nel sostenere le parti dei cattivi: perfida ed ammaliante è soprattutto la Taylor, forse la miglior Lucrezia Borgia della storia cinematografica. Naturalmente Don Giovanni, il mitico John Barrymore, va a cercar rogne ed amanti nella città capitolina ed altrettanto ovviamente finisce con l’innamorarsi dell’unica donna che non cade ai suoi piedi cotta e stracotta (Adriana/Mary Astor) in un turbinio di avventure e grandi duelli come quello finale, e conoscendo l’abilità di spadaccino del Barrymore non deve essere stato troppo facile girare quelle scene senza una grande controfigura a lui opposta.
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