April/May 2015 2 from the President J.D

Total Page:16

File Type:pdf, Size:1020Kb

April/May 2015 2 from the President J.D April/May 2015 2 From the President J.D. Scott Dear Friends: I hope you’ve all subscribed to our 2015-16 season—it promises to be extraordinary. If you haven’t renewed or become a new subscriber yet, I urge you to do so now. You can choose from a traditional subscription, or you can create your own six-concert package if you’d like more flexibility. Subscribers also receive great benefits, including the ability to add on single tickets before they go on sale to the general public (including for our May 4, 2016, benefit concert conducted by John Williams), some at up to 20% off; easy ticket exchanges; and discounted parking. Many concerts do sell out and the only way to make sure that you’ll see the performances you want is to subscribe now. Visit www.philorch.org/2016 to learn all about the new season and how you can subscribe. From May 21 to June 6 Yannick and the Orchestra embark on their first tour of Europe together, performing 14 concerts in 10 cities, with debut appearances in Dortmund and Lyon. Other stops on the tour include Luxembourg City, Cologne, Dresden, Berlin, Paris, Vienna, Amsterdam, and London. Three friends of Yannick’s and the Orchestra join the tour: pianist Emanuel Ax, violinist Lisa Batiashvili, and pianist Jan Lisiecki. The repertoire will be taken from works you’ve enjoyed this season: the Third Symphonies of Rachmaninoff and Brahms; Tchaikovsky’s Fifth Symphony; Beethoven’s Third Piano Concerto; the Suite from Strauss’s Der Rosenkavalier; and Shostakovich’s First Violin Concerto. The Orchestra also brings Nico Muhly’s new Philadelphia Orchestra commission, Mixed Messages, which receives its European premiere at the first concert, in Luxembourg. As they do in Philadelphia and in cities they visit around the globe, Orchestra musicians will engage in residency work, including a Side-by-Side chamber performance in Lyon with musicians of the Orchestre National de Lyon, and community activities in London. As ever, we carry you, our loyal hometown audiences, with us whenever we travel. The Orchestra also returns to summer homes at the Mann Center, the Bravo! Vail festival, and the Saratoga Performing Arts Center for its annual visits. Those audiences have come to expect a diverse selection of programs, from the classics to film, jazz, and pop and this year will be no exception. Stay tuned to our website and blog for more information and for reports from the tour. We hope that you will join us at any of our summer activities. Thank you for being a part of our 2014-15 season. I wish you a summer full of great music and quality time spent with family and friends, and I look forward to seeing you back in Verizon Hall in the fall. Yours in Music, Allison Vulgamore President & CEO 4 Music Director Chris Lee Music Director Yannick Nézet-Séguin continues his inspired leadership of The Philadelphia Orchestra, which began in the fall of 2012. His highly collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” He has taken the Orchestra to new musical heights. Highlights of his third season as music director include an Art of the Pipe Organ festival; the 40/40 Project, in which 40 great compositions that haven’t been heard on subscription concerts in at least 40 years will be performed; and Bernstein’s MASS, the pinnacle of the Orchestra’s five- season requiem cycle. Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. He has been music director of the Rotterdam Philharmonic since 2008 and artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. He also continues to enjoy a close relationship with the London Philharmonic, of which he was principal guest conductor. He has made wildly successful appearances with the world’s most revered ensembles, and he has conducted critically acclaimed performances at many of the leading opera houses. Yannick Nézet-Séguin and Deutsche Grammophon (DG) enjoy a long-term collaboration. Under his leadership The Philadelphia Orchestra returned to recording with a CD on that label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions. He continues a fruitful recording relationship with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records; the London Philharmonic and Choir for the LPO label; and the Orchestre Métropolitain for ATMA Classique. A native of Montreal, Yannick Nézet-Séguin studied at that city’s Conservatory of Music and continued lessons with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada, one of the country’s highest civilian honors; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and honorary doctorates from the University of Quebec in Montreal and the Curtis Institute of Music in Philadelphia. To read Yannick’s full bio, please visit www.philorch.org/conductor. 6 The Philadelphia Orchestra 2014–2015 Season Yannick Nézet-Séguin Violas Flutes Music Director Choong-Jin Chang, Principal Jeffrey Khaner, Principal Walter and Leonore Annenberg Chair Ruth and A. Morris Williams Chair Paul and Barbara Henkels Chair Kirsten Johnson, Associate David Cramer, Associate Principal Stéphane Denève Principal Rachelle and Ronald Kaiserman Principal Guest Conductor Kerri Ryan, Assistant Principal Chair Cristian Ma˘celaru Judy Geist Loren N. Lind Conductor-in-Residence Renard Edwards Kazuo Tokito, Piccolo Lio Kuokman Anna Marie Ahn Petersen Assistant Conductor Piasecki Family Chair Oboes Charles Dutoit David Nicastro Richard Woodhams, Principal Conductor Laureate Burchard Tang Samuel S. Fels Chair First Violins Che-Hung Chen Peter Smith, Associate Principal David Kim, Concertmaster Rachel Ku Jonathan Blumenfeld Dr. Benjamin Rush Chair Marvin Moon* Edwin Tuttle Chair Juliette Kang, First Associate Elizabeth Starr Masoudnia, English Concertmaster Cellos Horn Joseph and Marie Field Chair Hai-Ye Ni, Principal Joanne T. Greenspun Chair Ying Fu, Associate Concertmaster Albert and Mildred Switky Chair Marc Rovetti, Assistant Yumi Kendall, Acting Associate Clarinets Concertmaster Principal Ricardo Morales, Principal Herbert Light Wendy and Derek Pew Leslie Miller and Richard Worley Larry A. Grika Chair Foundation Chair Chair Barbara Govatos John Koen, Acting Assistant Samuel Caviezel, Associate Wilson H. and Barbara B. Taylor Principal Principal Chair Richard Harlow Sarah and Frank Coulson Chair Jonathan Beiler Gloria dePasquale Paul R. Demers, Bass Clarinet Hirono Oka Orton P. and Noël S. Jackson Peter M. Joseph and Susan Richard Amoroso Chair Rittenhouse Joseph Chair Robert and Lynne Pollack Chair Kathryn Picht Read Yayoi Numazawa Winifred and Samuel Mayes Bassoons Jason DePue Chair Daniel Matsukawa, Principal Lisa-Beth Lambert Robert Cafaro Richard M. Klein Chair Jennifer Haas Volunteer Committees Chair Mark Gigliotti, Co-Principal Miyo Curnow Ohad Bar-David Angela Anderson Smith Elina Kalendarova Catherine R. and Anthony A. Holly Blake, Contrabassoon Daniel Han Clifton Chair Yiying Li Derek Barnes Horns Mollie and Frank Slattery Chair Jennifer Montone, Principal Second Violins Alex Veltman Gray Charitable Trust Chair Kimberly Fisher, Principal Jeffrey Lang, Associate Principal Peter A. Benoliel Chair Basses Daniel Williams Paul Roby, Associate Principal Harold Robinson, Principal Jeffry Kirschen Sandra and David Marshall Chair Carole and Emilio Gravagno Denise Tryon Dara Morales, Assistant Principal Chair Shelley Showers Anne M. Buxton Chair Michael Shahan, Associate Philip Kates Principal Trumpets Mitchell and Hilarie Morgan Joseph Conyers, Assistant David Bilger, Principal Family Foundation Chair Principal Marguerite and Gerry Lenfest Booker Rowe John Hood Chair Davyd Booth Henry G. Scott Jeffrey Curnow, Associate Paul Arnold David Fay Principal Lorraine and David Popowich Chair Duane Rosengard Gary and Ruthanne Schlarbaum Yumi Ninomiya Scott Robert Kesselman Chair Dmitri Levin Anthony Prisk Boris Balter Some members of the string Robert W. Earley William Polk sections voluntarily rotate Amy Oshiro-Morales seating on a periodic basis. Mei Ching Huang ROSTER CONTINUES ON PG. 8 8 The Philadelphia Orchestra 2014–2015 Season Trombones Percussion Librarians Nitzan Haroz, Principal Christopher Deviney, Principal Robert M. Grossman, Principal Neubauer Family Foundation Mrs. Francis W. De Serio Chair Steven K. Glanzmann Chair Anthony Orlando, Associate Matthew Vaughn, Co-Principal Principal Stage Personnel Eric Carlson Ann R. and Harold A. Sorgenti Edward Barnes, Manager Blair Bollinger, Bass Trombone Chair James J. Sweeney, Jr. Drs. Bong and Mi Wha Lee Chair Angela Zator Nelson James P. Barnes Tuba Piano and Celesta Carol Jantsch, Principal Kiyoko Takeuti *On leave Lyn and George M. Ross Chair **Regularly engaged musician Keyboards Timpani Davyd Booth Don S. Liuzzi, Principal Michael Stairs, Organ** Dwight V. Dowley Chair Angela Zator Nelson, Associate Harp Principal Elizabeth Hainen, Principal Patrick and Evelyn Gage Chair Patricia and John Imbesi Chair Musicians Behind the Scenes Choong-Jin Chang Principal Viola Jessica Griffin
Recommended publications
  • The Use of Music in the Cinematic Experience
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance.
    [Show full text]
  • Leonard Bernstein's MASS
    27 Season 2014-2015 Thursday, April 30, at 8:00 Friday, May 1, at 8:00 The Philadelphia Orchestra Saturday, May 2, at 8:00 Sunday, May 3, at 2:00 Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players, and Dancers* Conducted by Yannick Nézet-Séguin Texts from the liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein For a list of performing and creative artists please turn to page 30. *First complete Philadelphia Orchestra performances This program runs approximately 1 hour, 50 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the William Penn Foundation and the Andrew W. Mellon Foundation. Additional support has been provided by the Presser Foundation. 28 I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Films Winning 4 Or More Awards Without Winning Best Picture
    FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963.
    [Show full text]
  • Film Music Week 4 20Th Century Idioms - Jazz
    Film Music Week 4 20th Century Idioms - Jazz alternative approaches to the romantic orchestra in 1950s (US & France) – with a special focus on jazz... 1950s It was not until the early 50’s that HW film scores solidly move into the 20th century (idiom). Alex North (influenced by : Bartok, Stravinsky) and Leonard Rosenman (influenced by: Schoenberg, and later, Ligeti) are important influences here. Also of note are Georges Antheil (The Plainsman, 1937) and David Raksin (Force of Evil, 1948). Prendergast suggests that in the 30’s & 40’s the films possessed somewhat operatic or unreal plots that didn’t lend themselves to dissonance or expressionistic ideas. As Hollywood moved towards more realistic portrayals, this music became more appropriate. Alex North, leader in a sparser style (as opposed to Korngold, Steiner, Newman) scored Death of a Salesman (image above)for Elia Kazan on Broadway – this led to North writing the Streetcar film score for Kazan. European influences Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background). • Director Frederico Fellini &composer Nino Rota (many examples) • Director François Truffault & composerGeorges Delerue, • Composer Maurice Jarre (Sundays & Cybele, 1962) and later the • Professionals, 1966, Composer- Ennio Morricone (Serge Leone, jazz background). (continued) Also Hollywood was beginning to be strongly influenced by European films which has much more adventuresome scores or (often) no scores at all. Fellini & Rota, Truffault & Georges Delerue, Maurice Jarre (Sundays & Cybele, 1962) and later the Professionals, 1966, Ennio Morricone (Serge Leone, jazz background).
    [Show full text]
  • High Noon (1952) Steeling Himself for His Showdown with the Murderous Millers
    length corresponds to the story's actual timeframe. Utterly alone, Kane walks into the center of town, High Noon (1952) steeling himself for his showdown with the murderous Millers. Considered a landmark of the "adult western," TOMATOMETER High Noon won four Academy Awards (including Best All Critics Actor for Cooper) and Best Song for the hit, "Do Not Forsake Me, O My Darling" sung by Tex Ritter. The screenplay was written by Carl Foreman, whose blacklisting was temporarily prevented by star Cooper, 96 one of Hollywood's most virulent anti-Communists. Average Rating: 8.8/10 Reviews Counted: 47 Fresh: 45 John Wayne, another notable showbiz right-winger and | Rotten: 2 Western hero, was so appalled at the notion that a Western marshal would beg for help in a showdown that he and director Howard Hawks "answered" High Top Critics Noon with Rio Bravo (1959). ~ Hal Erickson, Rovi PG, 1 hr. 25 min. 100 Western, Mystery & Suspense Directed By: Fred Zinnemann Average Rating: 8.3/10 Critic Reviews: 8 Fresh: 8 | Written By: Carl Foreman Rotten: 0 In Theaters: Jul 24, 1952 Wide On DVD: Oct 23, 2001 A classic of the Western genre that broke with many of United Artists the traditions at the time, High Noon endures -- in no small part thanks to Gary Cooper's defiant, Oscar- [www.rottentomatoes.com] winning performance. AUDIENCE 87 liked it Average Rating: 4/5 User Ratings: 23,901 Movie Info This Western classic stars Gary Cooper as Hadleyville marshal Will Kane, about to retire from office and go on his honeymoon with his new Quaker bride, Amy (Grace Kelly).
    [Show full text]
  • The Concerto for Bassoon by Andrzej Panufnik
    THE CONCERTO FOR BASSOON BY ANDRZEJ PANUFNIK: RELIGION, LIBERATION AND POSTMODERNISM Janelle Ott Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Kathleen Reynolds, Major Professor Eugene Cho, Committee Member John Scott, Committee Member James Scott, Dean of the School of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Ott, Janelle. The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism. Doctor of Musical Arts (Performance), May 2016, 128 pp., 2 charts, 23 musical examples, references, 88 titles. The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik’s understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popiełuszko in 1984. Panufnik’s relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik’s compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S.
    [Show full text]
  • Botticelli Triptych
    RESPIGHI Botticelli Triptych November 2014 6 From the President J.D. Scott Dear Friends: Since the 1920s The Philadelphia Orchestra has engaged young people, and indeed people of all ages, with the joys and thrills of orchestral music through the presentation of numerous programs. Today that tradition continues with expanded offerings, which are more important than ever. November is School Concert month at The Philadelphia Orchestra. This year’s theme, Music and Art: Instruments of Expression, explores how these two artistic forms serve as a means for understanding ourselves and the world around us. The concert, led by our new assistant conductor, Lio Kuokman, will make powerful connections between music and other creative forms in a guided tour through vibrant sounds and images. This month also brings the first of our Open Rehearsals for Students, allowing high school and college students a behind- the-scenes peek at how a concert comes together, and a rare opportunity to observe first-hand the artistic collaboration between musicians and conductors. It’s a fascinating way to get even closer to the music. From Sound All Around (our award-winning program for 3-5 year olds) to Family Concerts, from PreConcert Conversations to Free Neighborhood Concerts, PlayINs, Side-by-Side rehearsals, and LiveNote (our recently launched interactive concert guide for mobile devices), our collaborative learning offerings are a key element of the Orchestra’s mission. Our community offerings take Orchestra musicians offstage, on the road, and into the lives of music-lovers throughout the Philadelphia region, celebrating the wealth of musicianship in this area.
    [Show full text]
  • Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
    Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947.
    [Show full text]
  • The Meaning of the Western Movie
    sCott a. mCConnEll The Meaning of the Western Movie emember Shane, Bonanza and The Lone of the country. Ranger? In novel, film and television, west- For more than 150 years, especially since erns once ruled the range. Until the 1960s 1900 when the frontier period was ending, the Rwesterns were the most popular fiction genre and American West was revealed in the western novel. remained popular until the 1970s. In his book The Influential among these were Whispering Smith Searchers the western historian Glenn Frankel tells (Frank Spearman, 1906), Riders of the Purple Sage us that western novels “consistently outsold all gen- (Zane Grey, 1912), Destry Rides Again (Max Brand, res, including the closest competitor, the detective 1930) and True Grit (Charles Portis, 1968). With the story—whose protagonist was, after all, just another arrival of television in the United States in 1947, version of the Western hero”. Frankel notes that “of the western and its view of America dominated the 300 million paperbacks sold in 1956, one third the small screen for many years. Some of the most were westerns”. influential shows and stars during the television Western films were similarly popular. As Frankel western heyday included The Lone Ranger (star- reports, “Westerns by the mid-1950s accounted for ring Clayton Moore), Rawhide (Clint Eastwood), one third of the output of the major studios and half Bonanza (Michael Landon) and Gunsmoke (James the output of the smaller independents.” Incredibly, Arness). “well over seven thousand Westerns have been To most people, however, westerns are movies. made”. The American Film Institute (AFI) has defined Westerns were even more popular on television.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Horncall 2017February
    Women Horn Players in the US Part II: 1946-Present by Ellie Jenkins emale players on all instruments gained considerable ac- Guatemala, Panama, Chile, Peru, and Canada as well, ceptance during World War II, as detailed in Part I of this proved themselves to be not only fully equal to the article (The Horn Call, May 2016), but with the war over, men, but to be sometimes more imaginative and al- F 3 many of the old arguments against women players reemerged. ways especially cooperative. While barriers had been eroded, they had not ceased to exist, George Foster, manager of the New Orleans Symphony, and the joy of the American public at the return of its soldiers expressed in 1949 something probably close to the truth for translated into a (sometimes voluntary) loss of orchestral jobs most orchestras of the time: “Every orchestra in the country for women musicians. The 1950s were a regressive decade for has a larger percentage of women musicians. I’d say they were working women, and orchestral players were no exception. accepted a little reluctantly at frst. But when they got in, they Several decades would pass before the number of professional did such a good job that any prejudice against women players players again reached the levels seen in the early-mid 1940s. was forgotten.”4 The Lost Generation (1946-60) Some ensembles clearly had a policy of replacing women with men as soon as possible. For example, the three large Immediately after World War II, prospects changed for radio orchestras in New York City hired women during the women in the workforce.
    [Show full text]