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WGSS Womenarehuman V7 N11 1978.Pdf (11.26Mb)
W01\1EN ARE HUMAN WOMEN'S STUDIES LIBRARY THE OHIO STATE UNIVERSITY Volume 7 November 17, 1978 Number 11 REVIEWS other ways. She does not seem to in- Materials in the OSU Libraries about, tend to paint such a negative picture-- for and by women (the location is in- but negative it is. On the other hand, dicated above each number). To de- Goldsmith is aware of some of the pos- termine if a copy is available call 422-3900. sible psychological reasons behind the behavior of this rather bizarre person; the trouble is that she plays armchair psychiatrist too often. Then there is WOMEN'S Gilbert, Julie Goldsmith. Goldsmith's enormously annoying habit STUDIES Ferber, a biography. of repeating herself, and others, from PS3511 Garden City, New York, chapter to chapter and using incredibly E66Z8 G5 Doubleday & Co., 1978. pretentious language. She glibly uses "lagniappe"--a word I had to look up Edna Ferber's biography has been writ- in the dictionary--and frequently attri- ten by her great-niece, Julie Gilbert butes its use to others, as in this Goldsmith, who certainly seems to want sentence, allegedly spoken or written us to like Ferber, remember her for the by Kate Steichen, then an editor: many huge books she wrote, and gain " ••• At Doubleday we iust didn't take an insight into how Ferber lived on a any lagniappe or gravy from authors--let scale comparable to her books. These alone agents." My response to that books are huge in scope, and huge in comes from an old favorite line in the verbiage. -
DOCUMENT RESUME RC 021 689 AUTHOR Many Nations
DOCUMENT RESUME ED 424 046 RC 021 689 AUTHOR Frazier, Patrick, Ed. TITLE Many Nations: A Library of Congress Resource Guide for the Study of Indian and Alaska Native Peoples of the United States. INSTITUTION Library of Congress, Washington, DC. ISBN ISBN-0-8444-0904-9 PUB DATE 1996-00-00 NOTE 357p.; Photographs and illustrations may not reproduce adequately. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Books (010) Guides Non-Classroom (055) -- Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS *Alaska Natives; American Indian Culture; *American Indian History; American Indian Languages; *American Indian Studies; *American Indians; Annotated Bibliographies; Federal Indian Relationship; *Library Collections; *Resource Materials; Tribes; United States History IDENTIFIERS *Library of Congress ABSTRACT The Library of Congress has a wealth of information on North American Indian people but does not have a separate collection or section devoted to them. The nature of the Librarv's broad subject divisions, variety of formats, and methods of acquisition have dispersed relevant material among a number of divisions. This guide aims to help the researcher to encounter Indian people through the Library's collections and to enhance the Library staff's own ability to assist with that encounter. The guide is arranged by collections or divisions within the Library and focuses on American Indian and Alaska Native peoples within the United States. Each -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
9781474451062 - Chapter 1.Pdf
Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema -
Bibliography Filmography
Blanche Sewell Lived: October 27, 1898 - February 2, 1949 Worked as: editor, film cutter Worked In: United States by Kristen Hatch Blanche Sewell entered the ranks of negative cutters shortly after graduating from Inglewood High School in 1918. She assisted cutter Viola Lawrence on Man, Woman, Marriage (1921) and became a cutter in her own right at MGM in the early 1920s. She remained an editor there until her death in 1949. See also: Hettie Grey Baker, Anne Bauchens, Margaret Booth, Winifred Dunn, Katherine Hilliker, Viola Lawrence, Jane Loring, Irene Morra, 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. Blanche Sewell as Editor After Midnight. Dir. Monta Bell, sc.: Lorna Moon, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: Norma Shearer, Gwen Lee, si., b&w. Archive: Cinémathèque Française [FRC]. Man, Woman, and Sin. Dir. Monta Bell, sc.: Alice D. G. Miller, Monta Bell, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: John Gilbert, Jeanne Eagels, Gladys Brockwell, si., b&w. Archive: George Eastman Museum [USR]. Tell It to the Marines. Dir.: George Hill, sc.: E. Richard Schayer, ed.: Blanche Sewell (Metro- Goldwyn-Mayer Corp. US 1927) cas.: Lon Chaney, William Haines, si, b&w, 35mm. Archive: George Eastman Museum [USR], UCLA Film and Television Archive [USL]. The Cossacks. Dir.: George Hill, adp.: Frances Marion, ed.: Blanche Sewell (Metro-Goldwyn- Mayer Corp. US 1928) cas.: John Gilbert, Renée Adorée, si, b&w. -
Cissy Fitzgerald
Cissy Fitzgerald Also Known As: Marie Kathleen Cecilia Fitzgerald, Mrs. Oliver Mark Tucker, "The Girl with the Wink" Lived: February 1, 1873 - May 10, 1941 Worked as: dancer, film actress, film company owner, producer, theatre actress Worked In: United States by Maggie Hennefeld With a film career spanning over four decades—from a vaudeville dancer in an early Edison actuality and a silent comic film actress to an independent producer in the 1920s and a character actor in talkies in the 1930s— Cissy Fitzgerald experienced the vicissitudes of early film history. Born on February 1, 1873, christened Marie Kathleen Cecilia Fitzgerald, and educated in a British convent, Fitzgerald was already famous for her stage dancing and coquettish wink when she made her first screen appearance in 1896. Best known as “The Girl With the Wink,” Fitzgerald primarily worked in theater until her transition to comedic film acting in 1914. She appeared in multiple, trans-Atlantic runs of “The Gaiety Girl,” “The Foundling,” and “The Family.” Although she only appeared in one film role prior to 1914, an Edison Vitascope recording of her dance act in a Boston Keith-Albee show, her stage personality radiated cinematic qualities. From her saucy lingerie dancing to her gleefully incessant winking, Fitzgerald integrated bodily displays with the act of looking while most films were still shot in static, long-framed, proscenium views. When “she kicked herself” up from $50 to a $350 per week salary in her first American engagement, an unlabeled scrapbook clipping found in the Robinson Locke collection at the New York Public Library advertised Fitzgerald’s exciting range of allures: “Her dancing is distinguished for its seductiveness, its lingerie display, and its celebrated wink accompaniment.” Her first film appearance, as Charles Musser explains, was viewed as a supplement to her live stage performance (170). -
A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933
A PROPÓSITO DE LA FILOSOFÍA DEL CINE COMO EDUCACIÓN DE ADULTOS: LA LÓGICA DEL MATRIMONIO FRENTE AL ABSURDO EN LA FILMOGRAFÍA DE GREGORY LA CAVA HASTA 1933 José Alfredo Peris Cancioa Fechas de recepción y aceptación: 2 de junio de 2015, 8 de julio de 2015 Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los antihéroes. Con estos personajes, La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda entre el varón y la mujer es el modelo más pleno. Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad, igualdad y com- plementariedad entre varón y mujer, ayuda, filosofía del cine, educación de adultos. Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by peo- ple in industrial societies to remedy the distress caused by his own weakness and vulner- a Facultad de Filosofía, Antropología y Trabajo Social, Universidad Católica de Valencia San Vicente Mártir. -
Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951
Tob Control: first published as 10.1136/tc.2008.025445 on 25 September 2008. Downloaded from Research paper Signed, sealed and delivered: ‘‘big tobacco’’ in Hollywood, 1927–1951 K L Lum,1 J R Polansky,2 R K Jackler,3 S A Glantz4 1 Center for Tobacco Control ABSTRACT experts call for the film industry to eliminate Research and Education, Objective: Smoking in movies is associated with smoking from future movies accessible to youth,6 University of California, San Francisco, California, USA; adolescent and young adult smoking initiation. Public defenders of the status quo argue that smoking has 10 2 Onbeyond LLC, Fairfax, health efforts to eliminate smoking from films accessible been prominent on screen since the silent film era California, USA; 3 Department of to youth have been countered by defenders of the status and that tobacco imagery is integral to the artistry Otolaryngology – Head & Neck quo, who associate tobacco imagery in ‘‘classic’’ movies of American film, citing ‘‘classic’’ smoking scenes Surgery, Stanford University with artistry and nostalgia. The present work explores the in such films as Casablanca (1942) and Now, School of Medicine, Stanford, 11–13 California, USA; 4 Center for mutually beneficial commercial collaborations between Voyager (1942). This argument does not con- Tobacco Control Research and the tobacco companies and major motion picture studios sider the possible effects of commercial relation- Education and Department of from the late 1920s through the 1940s. ships between the motion picture and tobacco Medicine, -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
Tribal and House District Boundaries
! ! ! ! ! ! ! ! Tribal Boundaries and Oklahoma House Boundaries ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 22 ! 18 ! ! ! ! ! ! ! 13 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 20 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 7 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Cimarron ! ! ! ! 14 ! ! ! ! ! ! ! ! ! ! ! ! ! ! 11 ! ! Texas ! ! Harper ! ! 4 ! ! ! ! ! ! ! ! ! ! ! n ! ! Beaver ! ! ! ! Ottawa ! ! ! ! Kay 9 o ! Woods ! ! ! ! Grant t ! 61 ! ! ! ! ! Nowata ! ! ! ! ! 37 ! ! ! g ! ! ! ! 7 ! 2 ! ! ! ! Alfalfa ! n ! ! ! ! ! 10 ! ! 27 i ! ! ! ! ! Craig ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! h ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 26 s ! ! Osage 25 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! a ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! Tribes ! ! ! ! ! ! ! ! ! ! ! ! ! ! 16 ! ! ! ! ! ! ! ! ! W ! ! ! ! ! ! ! ! 21 ! ! ! ! ! ! ! ! 58 ! ! ! ! ! ! ! ! ! ! ! ! ! ! 38 ! ! ! ! ! ! ! ! ! ! ! ! Tribes by House District ! 11 ! ! ! ! ! ! ! ! ! 1 Absentee Shawnee* ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Woodward ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 2 ! 36 ! Apache* ! ! ! 40 ! 17 ! ! ! 5 8 ! ! ! Rogers ! ! ! ! ! Garfield ! ! ! ! ! ! ! ! 1 40 ! ! ! ! ! 3 Noble ! ! ! Caddo* ! ! Major ! ! Delaware ! ! ! ! ! 4 ! ! ! ! ! Mayes ! ! Pawnee ! ! ! 19 ! ! 2 41 ! ! ! ! ! 9 ! 4 ! 74 ! ! ! Cherokee ! ! ! ! ! ! ! Ellis ! ! ! ! ! ! ! ! 41 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 72 ! ! ! ! ! 35 4 8 6 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 5 3 42 ! ! ! ! ! ! ! 77 -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
'Thirteen Hours by Air/ Air Drama, Sunday and Monday at Capitol |
‘Thirteen Hours by Air/ Air Drama, Sunday and Monday at Capitol | John Cromwell, who handled th* IN ‘13 HOURS BY AIR’ ‘PETTICOAT FEVER’ megaphone on Selznick Internation- al's “Little Lord Fauntleroy," which ROMANCE t D brings Freddie Bartholomew, Dolorea Costello Barrymore and a great cast,has served In almost evary con- ceivable capacity in the theatre. He has been playwright, stage manager, INTRIGUE director. “little ON and actor, producer Lord Fauntleroy” is released through SHIP PICTURED United Artists. Third and fourth Americans always have coloring than their Fred MacMurray, Joan Bennett Play Leads In Plot Taken From Magazine Serial THEATRE SUNDAY and MONDAY Drama in the sky is the theme of Thirteen Hours By Air,’ which shows Sunday and Monday at the Capitol Theater, Brownsville, and everyone who enjoys his drama in tense, punch-packed doses will have the time of his life at the film. For “Thirteen Hours By Air” starts off at a terrific pace, and Robert Montgomery and Myma Loy co-starred in “Petticoat Fever” like the New York-to-San Francis- showing Sunday and Monday at both the Arcadia theatre in Hariingen co on which most of its ac- plane and the Rivoli theatre in San Benito. tion takes place, roars on at high speed up to the very finish. Director Mitchell Leisen, furnish- Joan Bennett and Fred MacMurray In the mystery romantic thriller in the track and field event* 75 to ed with a grand cast and an equal- “13 Hours By Air,” showing Sunday and Monday at the Capitol theatre 47. ly grand script, has made the most Brownsville.