The S.S. Ben Hecht
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AMERICAN VETERANS of ISRAEL VOLUNTEERS in ISRAEL’S WAR of INDEPENDENCE UNITED STATES & CANADA VOLUNTEERS 136 East 39Th Street, New York, NY 10016
SPRING 2005 AMERICAN VETERANS OF ISRAEL VOLUNTEERS IN ISRAEL’S WAR OF INDEPENDENCE UNITED STATES & CANADA VOLUNTEERS 136 East 39th Street, New York, NY 10016 THE MIGHTY MA’OZ Sharon Recalls Machal before American Part I From Pleasure Ship to Flagship. Jewish Leaders in New York, May 22 By J. Wandres Following is an excerpt from Sharon’s address: By October 948, the Israeli I am honored to stand here and feel the strong bond between Israel Defence Force had pushed back Arab and the rest of the Jewish world. We share a history, and we share a future as forces to the north and east. Egyptian well. forces had been halted in the Negev. In 948, the new State of Israel was forced to stand its ground against Only Israel’s Mediterranean coastline the armies of the combined Arab world. The survival of Israel was not at all remained vulnerable. An Egyptian certain. We had no choice but to fight for our lives. It seemed as if we stood squadron, chased from Tel Aviv, was alone. about to be dealt with at Gaza. Kvar- But we were not all alone. I had the merit to participate in the War of nit (Commander) Paul Shulman, on the Independence, and I still remember how I felt when I learned that volunteers bridge of the 690-ton, 20-foot-long K- from Jewish communities around the world were coming to help us. They 24 Ma’oz that day in mid-October, was risked, and sometimes lost, their lives in our War of Independence. -
GAILY, GAILY the NIGHT THEY RAIDED MINSKY's “In 1925, There
The one area where it succeeded perfectly was So, Rosenblum began refashioning the film, in its score by Henry Mancini. By this time, using a clever device of stock footage that Mancini was already a legend. After toiling in the would lead into the production footage, rear - GAILY, GAILY music department at Universal (the highlight of ranging and restructuring scenes, and spend - his tenure there would be Orson Welles’ Touch ing a year doing so – the result was stylish and Of Evil) , he hit it big, first with his TV score to visually interesting and it transformed the film THE NIGHT Peter Gunn – which not only provided that from disaster into a hit. THEY RAIDED MINSKY’S Blake Edwards series with its signature sound, but which also produced a best-selling album The score for Minsky’s was written by Charles on RCA – and then in a series of films for which Strouse, who’d already written several Broad - “In 1925, he provided amazing scores, one right after an - way shows, as well as the score for the film other – Breakfast At Tiffany’s, Charade, Hatari, Bonnie and Clyde . The lyrics were by Lee there was this real The Pink Panther, Days Of Wine and Roses , Adams, with whom Strouse had written the religious girl” and many others. Many of those films also pro - Broadway shows Bye Bye Birdie, All-American, duced best-selling albums. Mancini not only Golden Boy, It’s A Bird, It’s A Plane, It’s Super - knew how to score a film perfectly, but he was man and others. -
Nothing Sacred (United Artists Pressbook, 1937)
SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians. -
INTRODUCTION Fatal Attraction and Scarface
1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things. -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
The Notorious Ben Hecht
Purdue University Purdue e-Pubs Purdue University Press Book Previews Purdue University Press 3-2019 The otN orious Ben Hecht: Iconoclastic Writer and Militant Zionist Julien Gorbach Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_previews Part of the Film and Media Studies Commons, and the Jewish Studies Commons Recommended Citation Gorbach, Julien, "The otN orious Ben Hecht: Iconoclastic Writer and Militant Zionist" (2019). Purdue University Press Book Previews. 26. https://docs.lib.purdue.edu/purduepress_previews/26 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. “In The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist, Julien Gorbach highlights the character, the motivations, and the involvement of an engaged intellectual, crossing from the world of words into that of assertive advocacy on behalf of a cause deemed too narrow for the milieu in which he was a major element. In focusing on this facet of the life of one who was a borderline American Jew, Gorbach not only details the personal biography of Hecht as Hollywood screenwriter, playwright, and novelist, but in his treatment of Hecht’s activities on behalf of the Jewish resistance in Mandate Palestine against the oppressive British rule, he retrieves that period of Israel’s history shunted aside due to ideological and political bias, the years of the national liberation struggle prior to the establishment of the state that have been subjected to a campaign of purposeful neglect and which affected Hecht as well.” —Yisrael Medad, Research Fellow, Menachem Begin Heritage Center, Jerusalem “With storytelling skills equal to his subject’s, Julien Gorbach shows the nuance and complexity of Ben Hecht’s transformation from secular and cynical Hollywood script doctor to committed Zionist activist attempting first to save the Jews of Europe during World War II, and then to found the state of Israel. -
Peter Bergson:” Historical Memory and a Forgotten Holocaust Hero
Making “Peter Bergson:” Historical Memory and a Forgotten Holocaust Hero By Emily J. Horne B.A. May 2000, The George Washington University A Thesis submitted to The Faculty of Columbian College of Arts and Sciences of The George Washington University in partial satisfaction of the requirements for the degree of Master of Arts January 31, 2009 Thesis directed by Dina R. Khoury Associate Professor of History and International Affairs For my parents, Pamela and Stephen, and for my sister, Jennifer… who remind me every day to seek out “story potential.” ii Acknowledgements I am endlessly indebted to my brilliant committee members. Dina Khoury first introduced me to memory studies at the beginning of my graduate career and I would not have finished this process without her guidance, enthusiasm and advice. Many thanks to Walter Reich for all his anecdotes and legends that never appeared in the history books, and for calming me down when the work seemed overwhelming. Every young woman graduate student should be lucky enough to have a role model like Hope Harrison, who first introduced me to the twin joys of contemporary Holocaust memory and spargel season in Berlin. I have been deeply privileged to have these three scholars as readers and advisers for this thesis. Also from the GWU History Department I would like to thank Leo Ribuffo, who taught the first history class of my undergraduate career and inspired me to stay for another eight years. Director Geri Rypkema of the Office of Graduate Assistantships and Fellowships has been a wonderful supervisor and friend through much of my graduate career. -
Medienwissenschaft / Hamburg: Berichte Und Papiere
Medienwissenschaft / Hamburg: Berichte und Papiere 19, 2003: Journalismus und Presse im Film. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 5. März 2002. Journalismus und Presse im Film: Eine Filmographie Zusammengestellt von Hans J. Wulff 1903 Delivering Newspapers; USA 1903. 1907 John D___ and the Reporter; USA 1907. -- Kurzfilm. Drama. President of Rancid Oil tries to escape justice, but a reporter serves him with a summons. In the end he has to pay a $29 million fine. 1910 The New Reporter; USA 1910, Lewin Fitzhamon. -- Komödie, Kurzfilm. 1911 The Derelict Reporter; USA 1911. -- D: Ralph Ince. The Reform Candidate; USA 1911, Thomas Edison. The Reporter; USA 1911. 1912 The Cub Reporter's Big Scoop; USA 1912. -- Kurzfilm. Komödie. The Girl Reporter's Big Scoop; USA 1912. -- Kurzfilm. The Old Reporter; USA 1912. -- Kurzfilm. The Star Reporter; USA 1912. 1913 The Cub Reporter's Temptation; USA 1913. -- Kurzfilm. Komödie. The Girl Reporter; USA 1913. -- Kurzfilm. 1914 Cub Reporter's Assignment; USA 1914. Making a Living; USA 1914, Charles Chaplin. -- In Chaplin's first film appearance, in Making a Living, he is a con man who takes a job as a reporter, and steals and passes off a rival reporter's photos of an accident as his own. 1916 The Fourth Estate; USA 1916, Frank Powell. Otto the Reporter; USA 1916, Edwin McKim. -- Komödie. Kurzfilm. 1919 Die feindlichen Reporter (aka: Prinzessin Incognito); Deutschland 1919, Franz Hofer. I'll Get Him Yet; USA 1919, Elmer Clifton. -- 5 Rollen. The Woman Undercover; USA 1919, George Seigmann. 1920 Deadline at Eleven; USA 1920, George Fawcett. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
The Many Editions of the Front Page: How Gender Shapes the Story
Conspectus Borealis Volume 5 Issue 1 5th Anniversary Issue Article 14 3-27-2020 The Many Editions of The Front Page: How Gender Shapes the Story Nicole Moore Northern Michigan University, [email protected] Follow this and additional works at: https://commons.nmu.edu/conspectus_borealis Part of the Dramatic Literature, Criticism and Theory Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Other Theatre and Performance Studies Commons Recommended Citation Moore, Nicole (2020) "The Many Editions of The Front Page: How Gender Shapes the Story," Conspectus Borealis: Vol. 5 : Iss. 1 , Article 14. Available at: https://commons.nmu.edu/conspectus_borealis/vol5/iss1/14 This Article is brought to you for free and open access by the Journals and Peer-Reviewed Series at NMU Commons. It has been accepted for inclusion in Conspectus Borealis by an authorized administrator of NMU Commons. For more information, please contact Kevin McDonough. Moore 1 Nicole Moore Dr. David Wood HON495X November 29, 2019 The Many Editions of The Front Page: How Gender Shapes the Story Have you ever been upset that a movie adaptation was not faithful to the book? That the remake was not as good as the original? This gut instinct to reject a performance’s interpretation of the text haunted me at the 2019 Stratford Festival. After falling in love with the written play, The Front Page (1928), I could not wait to see it staged. The quick wit, overlapping dialogue, and ever-present power dynamics would surely be impressive when performed live. By intermission, however, I felt disappointed but hopeful. -
B'nai B'rith Bowlathon Carmel Wine from Israel
.., ',' "'~~T • ' .. .,' '\ , . Page Nine THE JEWISH POST Page Eight THE JEWISH ;POST Thursday, April 2, 1970 Thursday, April 2, 1970 . ; Faye Fishman 432; Evelyn Shuster ures some of the major personalities BOWL' NG NEWS I t~am. 4th quarter winners Toots Fmgold team, Noreen Peters team. 429; Pam Buchalter 428; Sandy Coo Fit.., of the Yiddish Theatre's 75 years B'nai B'rith Bowlathon perband 420; Evelyn Goldstein 418; JliiDUiDg including Boris Thomasefsky, .Celia Garden City B'nai B'rith Mr. and Maple Leaf Mixed 5 'Pin for March Adler, Molly Picon, Menasha Skul- Earl Barish, president of B'nai are eligible to win a prize in a Mrs. Bowling League, March 19th, 25th: Team high - Glow 3,089. Zi Leviri 416; Ruth Shore 414; Ruth BARNEY GLAZER nik, Paul Muni, Jennie Goldstein B'rith Manitoba Lodge 1616, ~n draw that will tak~ place during Ladies High Single-Kay Sera 181; David Wincure 703; Joe Adler 702; Gutki~ 410; Sue David 401. - High and Maurice Schwartz. nounced the B'nai B?rith Camp the bowl-a-thon. Maxine Gilman 180; Norma Duchon Chuck Frolich 695' Bert Glow 675' Team: Morley Wolovick 2544. , ' BOLL At an interview in his New York Bowl-a-thon to take place on Sun Proceeds of the Bowl-a-thon go 167; Belle Schom 166. - Ladies High Laura Peaurrault 668; Jack Flom IN YWOOD office recently, producer Arthur day, April 12, 1970, at 2:00 p.m. at to provide an infirmary for the Triple: Maxine Gilman 523; Belle 637; Estelle Hershfield 626; Gloria STANLEY BURKE Cantor commented "I have always the Empress Lanes. -
Alvin Theater
Landmarks Preservation Commission August 6 , 1985; Designaticn List 182 LP-1306 ALVIN THEATER (na.v Neil Simon Theater), first floor interior consisting of the ticket lobby, the entrance lobby, the auditorium, the stage, the staircases leading from the first floor to the balcony floor and all connecting entrance areas; the balcony floor interior consisting of the ba.lcony, the upper part of the auditorium and ceiling; and the fixtures and interior crnponents of these spaces, including but not limited to, wall and ceiling surfaces, doors, stair railings, and attached decorative elements; 244-254 West 52nd Street, Manhattan. Built 1927; architect, Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1023, Lot 54. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing en the proposed designation as an Interior Landmark of the Alvin Theater, first floor interior consisting of the ticket lobby, the entrance lobby, the auditorium, the stage, the staircases leading from the first floor to the balcony floor and all connecting entrance areas; the balcony floor interior consisting of the balcony, the upper part of the auditorium and ceiling; and the fixtures and interior components of these spaces, including but not limited to, wall and ceiling surfaces, doors, stair railings, and attached decorative elements; 244-254 West 52rrl Street, Manhattan, and the proposed designation of the related Landmark Site (Item No.2). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation.