DOCSLIB.ORG

Hgels and America's Pastime Isn't Going out to the Ballpark, It's Watching the Game on Televi- Apocalypse: the Cinema Sound Advice Sion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hgels and America's Pastime Isn't Going out to the Ballpark, It's Watching the Game on Televi- Apocalypse: the Cinema Sound Advice Sion Play Ball! hgels and America's pastime isn't going out to the ballpark, it's watching the game on televi- Apocalypse: The Cinema Sound Advice sion . In addition to the pleasures of the of Derek Jarman A seminar in cooperation with the sport, baseball broadcasts offer the New Democracy in visual pleasure. and iuxuriat- York University School of Con- medium at its best, capturing the excite- Celebrating tinuing Education. ing in an excess of theatricality and ment of live TV, and showcasing the most Communication: Popular Held NYU's Washington Square painterly effect, Derek Jarman has taken at advanced aud(ovisual techniques. The art Campus Video and Film in his place as one of the most exciting con- of televised baseball will be explored in a Saturday, March 7, 10 a.m.-5 panel discussion with some of the leading Latin America temporary British filmmakers. While his -SEBASTIANE, JUBILEE, Fee: $80 figures in network sports. An evening of feature films To : Make THE TEMPEST THE ANGELIC CONVER- register checks payable to the video screenings offer rare behind-the- Freelance journalist Karen Ranucci spent American Museum the Moving . SATION now CARAVAGGIO-have of Image The Lubitsch Vouch scenes glimpses of majorleague teams. In a year travelling through Latin America. and Enclose address, day received international acclaim, his con. name, telephone contrast. the feature films derive their The result is this timely and revealing col- and occupation and mail AMMI, film and tinued experimentation with super-8 and to 34-12 -Iri the mid-1920s director Ernst Lubitsch drama and comedy from life off the field. lection of works by independent 36th . Astoria, 11106. Information Chile, video places him in the forefront of artists St NY : fashioned a new style of visual comedy for Series made possible with the cooperation video makers in Mexico, Peru, 718 784-4520 . the silent screen, sophisticated rather ofMajor League Baseball Productions. Pro- Panama, Bolivia, Uruguay, El Salvador, who challenge the technology and tech- The accessibility of niques of commercial cinema . Jarmans than slapstick. Working with actors like grammed by David Schwartz . and Nicaragua. ready Sound is an integral part o1 everyphase of resulted in the interest in merging the sexual and the Adolphe Menjou and Ronald Colman, he video equipment has film, from preproduction through post- this form of popular political places his work in the company showed that silent comedies had no need Friday, March 6, 7:30 p.m. increased use of production . Sound effects lend a film expression, and the tapes cover a wide of his favorite filmmakers, Pasolini . Eisen- for custard pies and banana peels. "The CASEY AT THE BAT (1927), and credibility, and music helps determine a Lubitsch Touch" was soon picked up by ELMER THE GREAT (1932) range of topics and styles, including stein and Cocteau . AMMI will present four Jarman's films in 35mm prints addi- film's emotional impact. Through lec directors like Paul Bern. Mat St. Clair, and social dramas, documentaries,, experi- of ; tures, demonstrations film clips, tional films will be screened by the Col- and Harry DArrast, who made it Hollywood§ Saturday, March 7, 7:30 p.m. mental video, satire, alternative news- discuss the for Living Cinema . This retrospec- guests collaborative process touchstone of sophistication and wit. THE PRIDE OF ST. LOUIS (1952), and casts, music video, and game shows. With lective through which a film's sound track tour has been made possible, in part, is con- Musical accompaniments for these silent FEAR STRIKES OUT (1957) English subtitles. Programmed by Karen tive ceived and created. The techniques by from the British Council and of films arranged and played by Curtis Salke. Ranucci. support studio and location recording, what can the British Film Institute, and is presented Video In The Gallery Series programmed by Richard Koszarski. Friday, March 13, 7:30 p.m. and cannot be achieved in postproduc- . in association with the Walker Art Center, Introduced by Stan Isaacs, TV sports Thursday, March 19, 7:30 p.m fion, and the latest advances in audio On view in the gallery prior to each Friday CHILE Minneapolis. Friday, February 20, 7:30 p.m. columnist, Newsday. DOG BASEBALL PANAMA, PERU and technologies are explored . and Saturday film program, 6 :30-7.30 THE MARRIAGE CIRCLE (1924, (1986, William Wegman), GAME OF Guest speaker: To be announced. directed by Ernst Lubitsch) and SO THE WEEK (1977, Doug Hall), NEW Friday, March 27, 7:30 p.m. The panel of experts is moderated by THIS IS PARIS (1926, dir. by Lubitsch) YORK YANKEE BROADCAST (1980, Friday, March 20, 7:30 p.m. THE ANGELIC CONVERSATION Christopher Newman, soundman for Video Landscapes Susan Grayson) and BEHIND THE BRAZIL and MEXICO (1985) and SEBASTIANE (1976) THE MOSQUITO COAST THE FRENCH Feb. 20-21, 27-28, Mar. 6.7,13-14, Saturday, February 21, 7:30 p.m. SEAMS (1985, WTBS Sports) Guest speaker: MARIA DOHA, New CONNECTION, THE GODFATHER films. p Speakers include: Lee Dichter, Chief 27-28 LADY WINDERMERE'S FAN (1925, dir. York based journalist for the Brazil- Saturday, March 28, 7:30 .m. by Lubitsch) and A GENTLEMAN OF Saturday, March 14, 7.30 ;p m. ian Daily Post and director of TV Bra- THE QUEEN IS DEAD (1986) and mixer for Sound One, RADIO DAYS, HAN- Using images of forests, deserts and PARIS (1927, dir. by Harry D'Abbadie THE ART OF TELEVISED BASEBALL zil, a video production company. JUBILEE (1977) NAH AND HER SISTERS, MAKING MR. oceans, of strange creatures in exotic D'Arrast) Admission $8 RIGHT. Dan Sable, Sound editor, SOME- locales and of familiar sights in easily rec- A panel discussion moderated by Saturday, March 21, 7.30 p.m. At the Collective for Living Cinema, THING WILD, BLOWOUT MANHATTAN. ognizable cities, the artists in this series Friday, February 27, 7:30 p.m. Stan Isaacs with MICHAEL°.WEIS. EL SALVADOR and NICARAGUA 41 White Street, NYC 10013 John Strauss, Music coordinator, NIGHT (1924, dir. by Paul MAN, Exec. Producer, 1986 World Guest speaker: CARLOS FIGUEROA, (212925-21 11): AMADEUS, RAGTIME, HAIR. have created tapes which reflect diverse OPEN ALL approaches to the idea of 'landscape Bern) and A WOMAN OF THE WORLD Series; HARRY COYLE, DlrOClor, Salvarodan filmmaker and member Saturday, March 14,,8:00 p.m. Harriet Fidlow, ADR specialist, ISHTAR, and which exhibit a wide range of per- (1925, dir by Mat St. Clair) 1986 World Series ; CHEr FORTE, of the Salvador Media Project. THE HOME MOVIES (1976-86) featur- SOME7HING WILD, COTTON CLUB. sonal styles and uses of video tech- Director, 1986 AL Playoffs ; BOB ing IMAGINING OCTOBER, PIRATE Marco Costanzo and Michael Barry, niques . Included are works by Robert Saturday, February 28, 7:30 p.m. WOLFF, Baseball announcer, 1946- VIDEO IN THE GALLERY TAPE, BROKEN ENGLISH, T.G., Foley artists, THE COLOR OF MONEY,- . Cahen, Frank Gillette . Nan Hoover. ARE PARENTS PEOPLE? (1925, dir. by 62; JOEL NIXON, Original Exec. Pro- March 19, 20, 21, 6:30-7:30 p.m. PSYCHIC RALLY IN HEAVEN PEGGY SUE GOT MARRIED. ISHTAR Shigeko` Kubota, Paul Ryan, Tomiyo Mal St. Clair) and THE GRAND DUCH. ducer, N.Y Mets; PERRY SMITH, Pro- A one-hour program of additional Sasaki, Bill Seaman, Steina and Woody ESS AND THE WAITER (1926, dir. by ducer, NBC, 1954-64; JODY SHAPIRO, short works from Bolivia, Uruguay, Saturday, March 21, 8:00 p.m. All programs subject to change without Vasulka, and Bill Viola. Mal St. Clair) Exec. Producer, Home Team Sports. Mexico, Brazil and Panama. THE TEMPEST (1980) notice. Reservations, which are held until 7:15 1 calling 718 784-4520, Monday-Friday, Film and Video in the Theater p.m. on program nights, can be made by I between 9:30 and 5:30. Friday, February 27, 7:30 p.m . (1985, 95 mins.) The best of three WTBS doc- tization by independent filmmaker Lillian ing of Shakespeare sonnets acts as a spring- The Lubitsch Touch OPEN ALL NIGHT (1924) Lubitsch's first dis- umentaries, each chronicling an Atlanta Liberman contrasting the stories oftwo women board for a melancholy reverie about sexual ciple, Paul Bern, directed this hilarious and Braves season . By using wireless micro- from differentsocial classes . BRAZIL: VARELA desire . In 35mm blown up from Super8 by way Friday, February 20, 7: 30 p.m. somewhat perverse Parisian farce. Viola Dana phones during games, and having access to IN SERRA PELADA (1984,3 mins.) Tongue- of video. Also, SEBASTIANE (1976, 85 mins.) THE MARRIAGE CIRCLE (1924) An aura of and Jetta Goudal both want Menjou for them- players off the field, the programs give a sur- in-cheek "news report" about prospectors Jarmads first feature employes Latin dialogue Schnitzler (and Sigmund Freud) suffuses this selves in this one . Also A WOMAN OF THE prisingly candid view of the world of major seeking their fortune in Brazil§ largest gold (with English subtitles) and a Sardinian setting Viennese souffle, directed by Lubitsch and WORLD (1925) Pola Negri is the most exotic of league baseball . Kirk Douglas narrates. mining area. VARELA IN XINGU (1985, 13 to explore the intertwining relationships scripted by the legendary Paul Bern. Adolphe mins.) Satirical portrayal of the electronic between a groupofRoman soldiers garrisoned European decadents, thrust into small town Saturday, March 14, 7:30 p.m. Menjou and Marie Prevost open the circle. Americana by director Mal St . Clair. Adapted media's coverage ofan Amazonian chiefs inau- at the edge of the Roman Empire. Elements of Also SO THIS IS PARIS (1926) Lubitsch shifts THE ART OF TELEVISED BASEBALL The his- guration . BEIJO ARDENTE: OVERDOSE homo-eroticism and sado-masochism coalesce from The Tattooed Countess, the bizarre Carl tory and artistry of baseball on television will the scene to "Gay Paree," but the marital Van Vechten novel.
Load more

Recommended publications
  • Kubrick Film Streams Supporters Met Op
    Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2008 v2.2 2001: A Space Odyssey 1968 MGM/Photofest Film Screams! October 3 – October 31, 2008 The Cabinet An American Werewolf of Dr. Caligari 1921 in London 1981 Bride of Frankenstein 1935 Evil Dead 2 1987 The Innocents 1961 Eyes Without a Face 1960 Les Diaboliques 1955 The Raven 1963 What better way to celebrate the Halloween and of little worth artistically, that’s hardly the case. The eight films in this month than with a horror series? While other series offer a glimpse of the richness and variety of the genre, in terms of genres, such as musicals and westerns, tend to its history, cultural significance, creative influence, and talent produced. wax and wane in interest over certain periods of Whether deathly terrifying or horribly silly, there is something here for time, horror has maintained a constant presence everyone to enjoy and appreciate. ever since the inception of cinema. And while the — Andrew Bouska, Film Streams Associate Manager and Series Curator genre often bears the stigma of being lowbrow See the reverse side of this newsletter for full calendar of films and dates. Great Directors: Kubrick November 1 – December 11, 2008 2001: A Space Odyssey 1968 Spartacus 1960 Dr. Strangelove 1964 Lolita 1962 The Killing 1956 Barry Lyndon 1975 A Clockwork Orange 1971 Full Metal Jacket 1987 Paths of Glory 1957 Eyes Wide Shut 1999 Almost a decade after his death, the great myth fiction (2001: A SPACE ODYSSEY) to period drama (BARRY LYNDON) to of Stanley Kubrick seems as mysterious as ever.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988
    The Museum Of Modem Art For Immediate Release June 1987 PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988 Marlene Dietrich, William Holden, Barbara Stanwyck, Fred MacMurray, and Mae West are among the stars featured in the exhibition PARAMOUNT PICTURES: 75 YEARS, which opens at The Museum of Modern Art on July 10. The series includes films by such directors as Cecil B. De Mille, Ernst Lubitsch, Francis Coppola, Josef von Sternberg, and Preston Sturges. More than 100 films and an accompanying display of film-still enlargements and original posters trace the seventy-five year history of Paramount through the silent and sound eras. The exhibition begins on Friday, July 10, at 6:00 p.m. with Dorothy Arzner's The Wild Party (1929), madcap silent star Clara Bow's first sound feature, costarring Fredric March. At 2:30 p.m. on the same day, Ernst Lubitsch's ribald musical comedy The Smiling Lieutenant (1931) will be screened, featuring Paramount contract stars Maurice Chevalier, Claudette Colbert, and Miriam Hopkins. Comprised of both familiar classics and obscure features, the series continues in The Roy and Niuta Titus Theaters through January 4, 1988. Paramount Pictures was founded in 1912 by Adolph Zukor, and its first release was the silent Queen Elizabeth, starring Sarah Bernhardt. Among the silent films included in PARAMOUNT PICTURES: 75 YEARS are De Mille's The Squaw Man (1913), The Cheat (1915), and The Ten Commandments (1923); von Sternberg's The Docks of New York (1928), and Erich von Stroheim's The Wedding March (1928). - more - ll West 53 Street.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • The Faded Stardom of Norma Shearer Lies Lanckman in July
    CORE © The Editor(s) (if applicable) and The Author(s) 2016. This is a post-peer-review, pre-copyeditMetadata, version of citation a chapter and published similar papers in at core.ac.uk Provided by University of Hertfordshire Research Archive Lasting Screen Stars: Images that Fade and Personas that Endure. The final authenticated version is available online at: http://dx.doi.org/10.1057/978-1-137-40733-7_6 ‘What Price Widowhood?’: The Faded Stardom of Norma Shearer Lies Lanckman In July 1934, Photoplay magazine featured an article entitled ‘The Real First Lady of Film’, introducing the piece as follows: The First Lady of the Screen – there can be only one – who is she? Her name is not Greta Garbo, or Katharine Hepburn, not Joan Crawford, Ruth Chatterton, Janet Gaynor or Ann Harding. It’s Norma Shearer (p. 28). Originally from Montréal, Canada, Norma Shearer signed her first MGM contract at age twenty. By twenty-five, she had married its most promising producer, Irving Thalberg, and by thirty-five, she had been widowed through the latter’s untimely death, ultimately retiring from the screen forever at forty. During the intervening twenty years, Shearer won one Academy Award and was nominated for five more, built up a dedicated, international fan base with an active fan club, was consistently featured in fan magazines, and starred in popular and critically acclaimed films throughout the silent, pre-Code and post-Code eras. Shearer was, at the height of her fame, an institution; unfortunately, her career is rarely as well-remembered as those of her contemporaries – including many of the stars named above.
    [Show full text]
  • 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.
    [Show full text]
  • Barbara Hershey
    BARBARA HERSHEY Films: Insidious: The Last Key Lorraine Lambert Adam Robitel Blumhouse Productions The 9th life of Louis Drax Violet Drax Alexandre Aja Brightlight Pictures Sister Susan Presser David Lascher Showtime Networks Answers to Nothing Marilyn Matthew Leutwyler Ambush Entertainment Insidious Lorraine Lambert James Wan Film District Black Swan* Erica Darren Aronofsky Fox Searchlight Answers To Nothing Marilyn Matthew Leutwyler Independent Albert Schweitzer Helen Schweitzer Two Ocenans Production Gavin Millar Uncross The Stars Hilda Ken Goldie Independent The Bird Can’t Fly Melody Threes Anna Independent Childless Natalie Charlie Levi Independent Love Comes Lately Rosalie Jan Schutte Independent Riding The Bullet Jean Parker Mick Garris M P C A 11:14 Norma Greg Marcks Independent Lantana Dr Valerie Somers Ray Lawrence Independent Passion Rose Grainger Peter Duncan Independent A Soldier's Daughter Never Cries Marcella Willis James Ivory October Films Frogs For Snakes Eva Santana Amos Poe Shooting Gallery The Portrait Of A Lady** Madame Serena Merle Jane Campion Polygram Films The Pallbearer Ruth Abernathy Matthew Reeves Miramax Last Of The Dogmen Prof. Lilian Sloan Tab Murphy Savoy A Dangerous Woman Frances Beecham Rowland V. Lee Universal Pictures Swing Kids Frau Muller Thomas Carter Buena Vista Falling Down Elizabeth Travino Joel Schumacher Warner Bros Splitting Heirs Duchess Lucinda Robert Young Universal Public Eye Kay Levitz Howard Franklin Universal Defenseless Thelma ' T.k.' Martin Campbell New Line Tune In Tomorrow Aunt Julia Jon Amiel Cinecom Paris Trout *** Hanna Trout Stephen Gyllenhaal Showtime Last Temptation Of Christ**** Mary Magdalene Martin Scorsese Universal Beaches Hillary Whitney Essex Gary Marshall Walt Disney Prd. A World Apart Diana Roth Chris Menges Working Title Ltd Hoosiers Myra Fleener David Anspaugh Hemdale Film Corp Hannah And Her Sisters***** Lee Woody Allen Orion Pictures Corp Tin Men Nora Tilley Barry Levinson Walt Disney Prd Shy People****** Ruth A.
    [Show full text]
  • University International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
    ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe.
    [Show full text]
  • What's Inside
    January - April 2020 What’s Inside: Frozen Bun Run 5 FREE LUNAFEST® 10 Ghost Wife Vanished in Delta 14 Photo – Linda Solomon Sheep Dog Trial 17 RICHARDS Real Estate 25 South 3rd Street Rio Vista, CA 94571 (707) 374-6491 Serving the greater Delta area since 2001 For the latest news affecting real estate read Sam Richards’ weekly “Real Estate Q and A” Column in the Rio Vista Beacon or visit our website www.richards-realestate.com 2 Discover Rio Vista is a tri-annual magazine published by the RioVision Promotions and Communications team that provides information about events, activities and places of interest in and around Rio Vista. This magazine is a volunteer effort. We always need distributors who are willing to drop our magazines off to merchants in the Delta area. To volunteer, call RioVision at (707) 360-5244. January - April 2020 Edition Editor: Susan Whitesell Writers & Contributors Reviewers Photographers & Artists [email protected] Beth Ann Gallagher Emily Cummings Jose Carlos Fajardo Asst. Editor: Jan Vick Tony Kukulich Dennis Forfa Kelsey Nicols [email protected] Mary Ellen Lamothe Marilyn Nelson Doris Noriega Doris Noriega Cyndy Schroeder Phil Pezzaglia Advertising: Laurie Oleksiewicz Tom Surh Linda Solomon Carolyn Azbell Stacia Olson Jan Vick Jan Vick [email protected] Phil Pezzaglia Robie Williams Iva Walton Laurie Oleksiewicz Iva Walton Susan Whitesell [email protected] Susan Whitesell Robie Williams See the Discover Rio Vista website at: http://discoverriovista.com. For additional information about RioVision see: http://riovistavision.com and www.facebook.com/riovistavision. RioVision is a non-profit 501(c)(3) group.
    [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]