Jerome Hill and His 'Dearest Mother'
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American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
Robert Duvall
VOICE Journal of the Alex Film Society Vol. 14, No. 1 February 2, 2008, 2 pm & 8 pm 02/08 of theTHEATRE Gregory Peck By Randy Carter has to age six decades over the course of the film regory Peck has and Zanuck thought Peck always been a could carry it off. Although Gleading man. He the film did well at the never played a waiter box office it didn’t recoup with two lines or a police Zanuck’s $3 million dollar officer who gets killed in investment. But Peck got an the first reel. A California Oscar® nomination for Best boy from La Jolla, he Actor and his position as a went to San Diego State top leading man was minted and Cal, did some college in only his second film. He theatre and headed to New would be nominated three York. A student of Sanford more times in the next four Meisner, he played the years for The Yearling (1946), lead in his first Broadway Gentleman’s Agreement production, “The Morning (1947) and Twelve O’ Clock Star”, a New York version High (1950). of a London hit by the Welsh actor/playwright Emlyn Williams. This was 1942 Gentleman’s Agreement teamed Peck with New Yorker and a few good notices, a round of Hollywood meetings Elia Kazan in a film about Anti-Semitism. Peck actually set up by his agent Leland Hayward, set the stage for played a gentile impersonating a Jew to observe the his first film role in the RKO production of Days of depth of prejudice in America. -
Professor John P. Bakke
Men at War: Early Lessons at "The Town" Professor John P. Bakke Last spring I finally got the courage to teach a seminar in rhetoric and popular war films, especially those made during or shortly after World War II. As the bombing of Pearl Harbor is my earliest memory, I was literally weaned on such movies and made no distinction between what I saw on the screen and the war itself. Like Jeanine Basinger confesses in the introduction to her admirable study of World War II combat films, I expected the enemy in my backyard everyday. Why? In her words, "I went to the movies . .. and God knows, there they were."1 Oh, I remember blackouts, shortages, and rationing. And I remember neighbors going to war and occasional talk of someone not coming home. But those memories are no more real to me than those black and white images I saw in the Town Theatre in Waukon, Iowa. I never had any interest in the history of any war. I don't care if there was or was not a "Tanaka Plan." I don't care what the real turning point was in "The Battle of the Bulge" or even if Der Feuhrer is alive and well and living in Argentina. I care about war "films" because I learned from them values, senses of right and wrong, and notions about patriotism and freedom and courage and manliness. They placed images in my head of strange looking people from such far away places as Brooklyn and Tennessee, England and France, and, oh yes, from Germany and Japan. -
American Exceptionalism in the Film Industry of the Middle Twentieth Century Bryan Everett University of North Georgia, [email protected]
University of North Georgia Nighthawks Open Institutional Repository History, Anthropology & Philosophy Theses and Department of History, Anthropology & Projects Philosophy Spring 2017 American Exceptionalism in the Film Industry of the Middle Twentieth Century Bryan Everett University of North Georgia, [email protected] Follow this and additional works at: http://digitalcommons.northgeorgia.edu/histphil_etd Part of the Cultural History Commons, and the United States History Commons Recommended Citation Everett, Bryan, "American Exceptionalism in the Film Industry of the Middle Twentieth Century" (2017). History, Anthropology & Philosophy Theses and Projects. 7. http://digitalcommons.northgeorgia.edu/histphil_etd/7 This Open Thesis is brought to you for free and open access by the Department of History, Anthropology & Philosophy at Nighthawks Open Institutional Repository. It has been accepted for inclusion in History, Anthropology & Philosophy Theses and Projects by an authorized administrator of Nighthawks Open Institutional Repository. P a g e | 1 The University of North Georgia School of Arts and Letters American Exceptionalism in the Film Industry Of the Middle Twentieth Century By Bryan Everett A Thesis submitted to the Department of History, Anthropology and Philosophy in partial fulfillment of the requirements for the degree of Master of Arts in History May 2017 P a g e | 2 Abstract ____________________________________________________________________________ A common theme that pervades America’s view of its past is the idea that the American nation is exceptional. The term “American Exceptionalism” encompasses this notion or belief and sees common usage in both popular and scholarly contexts. This work deals with the essential themes of American Exceptionalism as they appear and evolve through the American film industry. -
Academy of Motion Picture Arts and Sciences
TO THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES VOL. 3; No. 6-7 9038 MELROSE AVENUE • HOLLYWOOD 46, CALIF. JUNE-JULY, 1947 INTERNATIONAL FILM EXPOSITION PLANNED "IN THE BEGINNING" by HERSHOL T OUTLINES FILM CONGRESS MARY C. MCCALL, JR. IN ADDRESS TO UNITED NATIONS CLUB It is the plan of the Academy to. A film congress, the first of its kind to be held in this country; devote an issue of " For You r In is planned for Hollywood. The exposition, for which no definite formation" to each branch of its date has been set, will include leading artists and craftsmen in the membership until all the Academy motion picture industry the world over. branches have been covered. jean Hersholt, president of the Academy, made the announce . It is appropriate that the first ment before an audience of fifteen hundred members of fifty-five of this series of informational bulle nations at the United Nations Club in Washington. tins should be devoted to the Writ He stated: ers Branch of the Academy. For it "1 feel that at a gathering such as this, it is appropriate that I is as true in the creation of a mo announce that the Academy of Motion Picture Arts and Sciences tion picture as the Bible tells us it will sponsor an International Film Congress in Hollywood a year was in the creation of the world from this summer. We shall bring together from all parts of the that The Word is the Beginning. world men and woman who made this medium one of the great The story·, the play, is the basis of vehicles for the interchange of social and cultural ideas--probably a motion picture. -
Official Ballot
OFFICIAL BALLOT AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. AFI’s 100 Years…100 CHEERS America's Most Inspiring Movies AFI has compiled this ballot of 300 inspiring movies to aid your selection process. Due to the extraordinarily subjective nature of this process, you will no doubt find that AFI's scholars and historians have been unable to include some of your favorite movies in this ballot, so AFI encourages you to utilize the spaces it has included for write-in votes. AFI asks jurors to consider the following in their selection process: CRITERIA FEATURE-LENGTH FICTION FILM Narrative format, typically over 60 minutes in length. AMERICAN FILM English language film with significant creative and/or production elements from the United States. Additionally, only feature-length American films released before January 1, 2005 will be considered. CHEERS Movies that inspire with characters of vision and conviction who face adversity and often make a personal sacrifice for the greater good. Whether these movies end happily or not, they are ultimately triumphant – both filling audiences with hope and empowering them with the spirit of human potential. LEGACY Films whose "cheers" continue to echo across a century of American cinema. 1 ABE LINCOLN IN ILLINOIS RKO, 1940 PRINCIPAL CAST Raymond Massey, Gene Lockhart, Ruth Gordon DIRECTOR John Cromwell PRODUCER Max Gordon SCREENWRITER Robert E. Sherwood Young Abe Lincoln, on a mission for his father, meets Ann Rutledge and finds himself in New Salem, Illinois, where he becomes a member of the legislature. Ann’s death nearly destroys the young man, but he meets the ambitious Mary Todd, who makes him take a stand on slavery. -
The History of the Hartman Theatre, 1938-1963
This dissertation has been microfilmed exactly as received 69-11,698 RODGERS, Charles Andrew, 1932- THE HISTORY OF THE HARTMAN THEATRE, 1938-1963. The Ohio State University, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE HISTORY OF THE HARTMAN THEATRE 1938 - 1963 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Andrew Rodgers, B„Sc0, M.A„ ****** The Ohio State University 1968 Approved by p/ p s Adviser PREFACE The popular, even the scholarly, concept of the American theatre has tended to center about theatrical ac tivities in New York City0 Only recently, with increasing emphasis placed upon educational, community, and summer theatre, has there arisen increasing recognition of the theatrical world outside New York. And though the ex istence of the road has long been acknowledged, a substan tial part of that theatre history--made when the theatre’s most important personalities in their original roles were criss-crossing America--still remains to be written. In the professional theatre of the nineteen sixties the road is confined to a relatively small group of larger cities privileged to view Broadway successes and mediocrities Columbus, Ohio is one of these cities. Over the years Columbus has had many legitimate playhouses (Market House, Comstock's Theatre, The Great Southern Theatre), but the Hartman Theatre, since its opening in 1911, has been the busiest and most important theatre in central Ohio. From its opening until the present except for a period of dark ness between 1963 and 1964, the Hartman has made profes sional theatre available to Ohio audiences. -
World-Class Live Music Dance & Theater in the Heart of Old Town Temecula
TEMECULA THEATER EXPERIENCE STARRY NIGHTS World-Class Live Music Dance & Theater In The Heart Of Old Town Temecula 2016 – 2017 SEASON STARS LIGHT UP TEMECULA NIGHTS! STATE-OF-THE-ART 2016 – 2017 SEASON-AT-A-GLANCE Temecula’s Theater creates an Temecula Theater transformed intimate and unparalleled live in 2015 to reveal a new look BROADWAY SERIES PAGE 4 & 5 performing arts experience City Of Temecula Youth Musical Theater through creative preservation THE ARTS JAN 19 – 22, 2017 The Wizard Of Oz with acoustic excellence and providing a safe and convenient, JUN 22 – 25, 2017 Mary Poppins exceptional sight lines. Eclectic state-of-the-art venue that is The Barn Stage Company & Temecula Valley Symphony performances by local talent, dedicated to presenting live SEP 1, 2, 3 & 4, 2016 CHESS In Concert non-profit arts organizations, as CAN CHANGE JAN 12, 13, 14 & 15, 2017 Songs For A New World theater, music, and dance in the MAR 2, 4 & 5, 2017 Camelot In Concert well as national and international heart of Old Town Temecula. superstars shine brightly. We invite you to engage with your family, YOUR LIFE… GROOVE SERIES 6 & 7 neighbors, and friends during FRI, NOV 4, 2016 Zac Harmon Band th FRI, JAN 6, 2017 Incendio intermission in our 12 Season at INVEST IN FRI, FEB 3, 2017 Steve Torok Collective the Old Town Temecula Community FRI, MAR 10, 2017 Davina And The Vagabonds Theater beneath the starry skies. YOURSELF! FRI, MAY 26, 2017 Dennis Jones Band DANCE SERIES 8 & 9 TEMECULA SAT, OCT 1, 2016 Parsons Dance BUILDS SAT, JAN 28, 2017 Kybele Dance Theater -
'S GREATEST MOVIE MUSICALS
‘s GREATEST MOVIE MUSICALS AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. Ballot2.indd 1 5/16/06 12:27:06 PM 1 ALADDIN 5 AN AMERICAN IN PARIS 9 BABES IN TOYLAND Disney, 1992 Metro-Goldwyn-Mayer, 1951 Metro-Goldwyn-Mayer, 1934 PRINCIPAL CAST Robin Williams, Scott Weinger, Linda Larkin (Voices) PRINCIPAL CAST Gene Kelly, Leslie Caron, Oscar Levant PRINCIPAL CAST Virginia Karns, Charlotte Henry, Felix Knight DIRECTORS Ron Clements, John Musker DIRECTOR Vincente Minnelli DIRECTORS Gus Meins, Charles Rogers PRODUCERS Ron Clements, John Musker PRODUCER Arthur Freed PRODUCER Hal Roach SCREENWRITERS Ron Clements, John Musker, Ted Elliot, Terry Rossio SCREENWRITER Alan Jay Lerner SCREENWRITERS Frank Butler, Nick Grinde MUSIC/LYRICS Alan Menken, Tim Rice, Howard Ashman CHOREOGRAPHER Gene Kelly MUSIC/LYRICS Victor Herbert/Glen MacDonough MUSIC/LYRICS George Gershwin/Ira Gershwin SONG SELECTIONS “A Whole New World” SONG SELECTIONS “Toyland” “Friend Like Me” SONG SELECTIONS “I Got Rhythm” “Don’t Cry, Bo-Peep” “One Jump Ahead” “I’ve Got a Crush on You, Sweetie Pie” “Go to Sleep, Slumber Deep” “Our Love Is Here to Stay” 2 ALEXANDER’S RAGTIME BAND 10 BABES ON BROADWAY Twentieth Century-Fox, 1938 6 ANCHORS AWEIGH Metro-Goldwyn-Mayer, 1941 Metro-Goldwyn-Mayer, 1945 PRINCIPAL CAST Tyrone Power, Alice Faye, Don Ameche PRINCIPAL CAST Mickey Rooney, Judy Garland, Fay Bainter DIRECTOR Henry King PRINCIPAL CAST Gene Kelly, Frank Sinatra, Kathryn Grayson DIRECTOR Busby Berkeley PRODUCER Harry Joe Brown DIRECTOR George Sidney PRODUCER Arthur Freed SCREENWRITERS Kathryn Scola, Lamar Trotti PRODUCER Jon Pasternak SCREENWRITERS Fred Finklehoffe, Elaine Ryan CHOREOGRAPHER Seymour Felix SCREENWRITER Isobel Lennart MUSIC/LYRICS Burton Lane/Arthur Freed, Roger Edens, E.Y. -
Notes on Musicarnival's Production Years, 1954-65
NotesUnder on Musicarnival’s the Production TentYears, 1954-65 UnderNotes on Musicarnival’s the Production Years,Tent 1954-65 * * Written by Bill Rudman and Rebecca Paller To accompany audio restorations produced by The Musical Theater Project The Lt. Col. Robert “Jim” Price Musicarnival Audio Archive is part of the John L. Price, Jr. Musicarnival Archives Copyright © 2017 by The Musical Theater Project except entries written by Rebecca Paller, Barbara Perris, Stanley Green and Ken Bloom Cover design by Steven Schultz Photos courtesy of the John L. Price, Jr. Musicarnival Archives, Cleveland Public Library -ii- The Partnership CLEVELAND PUBLIC LIBRARY serves four million patrons annually at 28 branches across the city, lending more than 6.5 million items from a collection of more than 10 million. CPL’s library services are also available at the Public Administration Library in City Hall; “The People’s University on Wheels” bookmobile; Ohio Library for the Blind and Physically Disabled; and the “On the Road to Reading” literacy van. CPL is the home for the Ohio Center for the Book, CLEVNET library cooperation, and KnowItNow24x7 virtual reference service. For more information, visit www.cpl.org. Dedicated to preserving the rich legacy of the art form, Goodspeed Musicals’ SCHERER LIBRARY OF MUSICAL THEATRE carefully maintains a comprehensive collection of scores, sheet music, scripts, original cast recordings, programs, photographs and theater memorabilia on the Goodspeed campus in East Haddam, Connecticut. These reference tools are utilized by the musical theater community across the nation in the re-creation and revitalization of period musicals and in the creation and development of new works.