DOCSLIB.ORG

Academy of Motion Picture Arts and Sciences Academy of Motion Picture Arts and Sciences 1949-1950

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Academy of Motion Picture Arts and Sciences Academy of Motion Picture Arts and Sciences 1949-1950 I THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES ACADEMY OF MOTION PICTURE ARTS AND SCIENCES 1949-1950 OFFICERS President CHARLES BRACKETT Vice-Presidents GEORGE MURPHY DORE SCHARY Treasurer FRED l. METZLER Assistant Treasurer G . CARLETON HUNT Counsel LOYD WRIGHT Secretary EMMET LA VERY Assistant Secretary JOHNNY GREEN Executive Secretary MARGARET HERRICK BOARD OF GOVERNORS HENRY BLANKE PERRY LIEBER JOHN W . BOYlE FRED l. METZlER CHARLES BRACKETT ROBERT MONTGOMERY FRANK CAPRA GEORGE MURPHY CHARLES G . ClARKE FREDERICK C. QUIMBY JOHNNY GREEN GORDON SAWYER ROBERT M. HAAS DORE SCHARY WILLIAM W . HORNBECK RUDOlPH STERNAD G. CARLETON HUNT GEORGE STEVENS KENNETH B. LAMBERT WALTER WANGER WALTER LANTZ HARRY WARREN EMMET LAVERY GABE YORKE Foreword To be President of the Academy of Motion Picture Arts and Sciences for a year means, even to one who has been closely connected with it before, to see it in a new light. It means understanding completely why Academy Awards main­ tain their importance, despite the countless awards given by other groups. Suddenly one knows the stupendous, back-breaking effort that goes into those Awards. I don't mean into the presentations-that's another story, and Johnny Green was its hero this year. I mean into the long, scrupulous endeavor to make the nominations representative, and to insure every Academy member a chance to see every nominated picture-thus getting a vote which reflects the considered opinion of our members. It means learning, as no superficial observation can teach, the long, steady effort of the Academy to act as a cultural liaison between our industry and the men and women everywhere who are deeply interested in motion pictures as an art. It means knowing the stresses and strains the problems of the Academy put on its Board of Governors, and-in my instance-how ably the Board met them last year. It means feeling deeply, if inade­ quately, grateful to every member of that great Board. It means knowing the value of Executive Director Margaret Her­ rick and her staff-something to be computed on that well known scale above rubies. It means appreciation of the contribution of Wright, Wright, Green and Wright, Academy legal counsel-of the services of Price, Water­ house and Company, certified public accountants-and of Howard G. Mayer and Associates, Academy Public Relations representatives. They have all performed their complicated functions magnificently. In conclusion, may I express my deep confidence in the future of the Academy, my satisfaction in the express wish of every branch that Academy membership shall not be given lightly, but only to those members of our industry who have a sense of the high importance of good picture making. CHARLES BRACKETT ~por~ of the 'Presiden~ For the Year Ending April 30, 1950 8() A report on a year in the life of an organization as vigorous and as varied in its interests as the Academy of Motion Picture Arts and Sciences must necessarily be somewhat impressionistic. It must reveal the quiet, unremitting activities which are the everyday life of the Academy, and set forth the special events which highlight every month. From the balance of the two perhaps we can get a factual picture. Let's begin at 9038 Melrose Avenue, with our library. It is now the largest in the world devoted to the history of motion pictures. It is used daily by studios, Academy members, college students, and the general public. A complete production file of feature films released since 1925 containing cast, credits, critics' reviews and key stills on each picture is an invaluable reference source for the whole industry. The bound volumes of film publications since 1906, the foreign books and trade journals and the special subject files enable us to an­ swer hundreds of inquiries which come to us each week by mail and telephone. This year, in addition to our routine acquisitions, we received some notable gifts. From Mrs. J. Searle Dawley: still photographs, books, peri­ odicals and letters collected by the pioneer director, J. Searle Dawley. From Robert G. Vignola: 100 stills relating to the film career of Sidney Olcott and Mr. Vignola. From Mrs. Thomas H. Ince: 95 bound albums of stills fully indexed, ftom the productions of Thomas H. Ince. From various other sources we acquired 19,000 stills illustrating production techniques. Save for portraits needed for our biograph­ ical files, we accept only production stills which have permanent value in the Library . -3- A few library statistics: Books and bound periodicals .. .. ..... .. .. ... 3,350 Scripts. .. 592 Current periodical subscriptions.................... 42 Research questions answered this year .. .. ....... 5,300 Now let's consider the Film Archives. There are now 939 films in the Academy vaults. 819 of these are 35mm release prints. The balance are 16mm. We also have 80 28mm films and a 28mm projector. We will eventually make 35mm prints of the 28mm footage which in­ cludes "Battle at Elderbush Gulch", "Judith of Bethulia", and early Chaplin and Pickford films. All prints in the Academy collection are available for screening to Academy members, studios and students. Important contributions to the film collection were made this year. From G. Carleton Hunt: "lola's Promise" Biograph, 1912; from Earl Theisen: 12 reels of early American footage covering the period 1892- 1912; and from Mrs. Leon Schlesinger: 15,000 ft. of early Georges Melies films, made in France, 1902-1908. There are thirty complete Melies subjects, and this is the largest known collection of his work. In addition, the Academy, through the courtesy of the Library of Congress, retains the paper negatives of American motion pictures 1896-1912, loaned to us for conversion to celluloid. This project is progressing slowly, but as funds become available we are restoring to the screen films which trace the development of our industry and are pictorial Americana of inestimable value. Another preoccupation which runs throughout the year is our Acrulemy Museum. It's beginning to emerge as a reality. Believing that some day the Academy must have a museum, we have collected in recent years a quantity of early motion picture equipment and memorabilia. This year we placed exhibit cases in our theatre lobby and displayed for our members some of the items. Interest stimulated by the exhibits has brought us many additional gifts and promises of more to come. Now let us take up our Publications. The Academy Players Direc­ tory, as a cooperative service for actors and studios, has become, during its twelve years of publication, an indispensable working tool for studio casting and executive personnel. The Directory was formerly issued quarterly, but at the request of the Screen Actors Guild, we revised the format of the book this year to give greater coverage in each num­ ber and reduced the cost to players and studios. We now issue three books a year. Three Credits Bulletins: the Writers' Bulletin, the Directors' Bulle- -4- tin, and the Production List-are now in their sixteenth years of publi­ cation. An annual cumulated volume is issued; monthly supplements keep the records up-to-date. The Awards Bulletin of Scientific or Technical Achievement is issued annually and is in effect a historical record of scientific and technical advancement in our industry since 1931. Now let us examine a routine activity of particular interest to our general membership- the Academy Theatre. When we moved into our own building four years ago, Sunday evening was set aside as regular membership night in the theatre. We established a policy of screening in sequence, all Academy-Award winning pictures and short subjects. The regular schedule of old films has been varied with the screening of foreign films and special events for the membership. We concluded the year with the Award-winning pictures of 1940, and the current series includes Award Winners of 1941. During the week the theatre is rented to the studios for press pre­ VIews. Another line of steady activity can best be described as our Educa­ tional Services. The widespread and growing interest of educators and students in motion pictures is reflected in the variety of services re­ quested from the Academy by schools, colleges and universities in the United States and abroad. Local colleges work closely with the Academy. Guest lecturers have been supplied for the past two years for the gradu­ ate seminar in motion pictures at the University of Southern California. The Motion Picture Section of the Theatre Arts Department at the University of California at Los Angeles was set up with the cooperation of an Academy committee, and many of the teachers for the new de­ partment have been Academy members. Requests for bibliographies, scripts, music scores, lists of films for special curriculum use, general information on all phases of the indus­ try, and personal assistance in arranging interviews or special screen­ ings at studios are a part of our daily routine. An inquiry to our office is often the first direct contact with the motion picture industry. Wheth­ er the inquiry comes from a college dean or from an enthusiast in the fifth grade, we try to give the service needed, but it isn't always easy. This letter is from a current file: "My class and I think movies are very interesting. We would like to know more about it except what is in books. Will you please send all information about modern movies. Please send us pictures of your machinery and the man who invented the movie. Please rush it here if at all possible. We would great­ ly appreciate it if you would. Thank you. Johnny Jones." -5- Johnny didn't get "all information about modern movies," but he did get pictures of Thomas Edison, cameras, and projectors, and refer­ ences to some simply written, well illustrated articles on movie-making suitable to his age group.
Load more

Recommended publications
  • Bodies Without Borders: Body Horror As Political Resistance in Classical
    Bodies without Borders: Body Horror as Political Resistance in Classical Hollywood Cinema By Kevin Chabot A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University Ottawa, Ontario ©2013 Kevin Chabot Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94622-0 Our file Notre reference ISBN: 978-0-494-94622-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Film Essay for "Midnight"
    Midnight By Kyle Westphal Long-standing critical con- sensus and the marketing prowess of Turner Classic Movies have declared 1939 to be “Hollywood’s Greatest Year”— a judgment made on the basis of a handful of popular classics like “Gone with the Wind,” “The Wizard of Oz,” “Stagecoach,” and “Mr. Smith Goes to Washington,” and a rather large stable of films that represent studio craftsmen at its most competent and unpretentious. There is no finer product of that collabo- Two-page advertisement from May 1939 edition of Photoplay. rative ethos than Midnight” Courtesy Media History Digital Library. — a shimmering comedy that exemplifies the weary cosmopolitan style of its stu- dio, Paramount Pictures. It received no Academy The plot, such as it is, is pure screwball. Colbert Award nominations, but it can go toe-to-toe with any stars as Bronx-bred but lately itinerant showgirl Eve ’39 warhorse. Peabody, who awakes on a train and disembarks in Paris with nothing but the gold lamé dress on her Film critic Dave Kehr has affectionately described back. She winds up in the taxi of Tibor Czerny (Don Paramount’s ’30s output as an earnest examination Ameche), who willingly drives her from nightclub to of an imagined “Uptown Depression,” positing an nightclub in search of a gig. Recognizing the futility economic calamity that “seemed to have its greatest of this plan, Colbert sneaks away from Ameche and effect not on switchboard operators and taxi drivers, uses her Monte Carlo municipal pawn ticket as en- but on Park Avenue socialites, Broadway stars and trée to a society soirée hosted by society matron well-heeled bootleggers.” Coming late in the cycle, Hedda Hopper.
    [Show full text]
  • The Tragedy of 3D Cinema
    Film History, Volume 16, pp. 208–215, 2004. Copyright © John Libbey Publishing ISSN: 0892-2160. Printed in United States of America The tragedy of 3-D cinema The tragedy of 3-D cinema Rick Mitchell lmost overlooked in the bicoastal celebrations The reason most commonly given was that of the 50th anniversary of the introduction of audiences hated to wear the glasses, a necessity for ACinemaScope and the West Coast revivals of 3-D viewing by most large groups. A little research Cinerama was the third technological up- reveals that this was not totally true. According to heaval that occurred fifty years ago, the first serious articles that appeared in exhibitor magazines in attempt to add real depth to the pallet of narrative 1953, most of the objections to the glasses stemmed techniques available to filmmakers. from the initial use of cheap cardboard ones that Such attempts go back to 1915. Most used the were hard to keep on and hurt the bridge of the nose. anaglyph system, in which one eye view was dyed or Audiences were more receptive to plastic rim projected through red or orange filters and the other glasses that were like traditional eyeglasses. (The through green or blue, with the results viewed cardboard glasses are still used for anaglyph pres- through glasses with corresponding colour filters. entations.) The views were not totally discrete but depending on Another problem cited at the time and usually the quality of the filters and the original photography, blamed on the glasses was actually poor projection. this system could be quite effective.
    [Show full text]
  • Schedule of the Films of Billy Wilder
    je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele­ brated study of proletarian life gave Wilder hie first taste of film­ making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war­ fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan.
    [Show full text]
  • Probablemente El Diablo: El Terror Elíptico De La Séptima Víctima
    PROBABLEMENTE EL DIABLO: EL TERROR ELÍPTICO DE LA SÉPTIMA VÍCTIMA Francisco García Gómez Universidad de Málaga RESUMEN La séptima víctima, la primera película dirigida por Mark Robson, constituye un magnífico ejemplo de la concepción del terror que tenía el productor Val Lewton. Su cuarto filme para la RKO, el primero no dirigido por Jacques Tourneur, pone de manifiesto que Lewton era el auténtico responsable de su ciclo fantástico. PALABRAS CLAVE: RKO, Val Lewton, Mark Robson, serie B, terror, satanismo, paladismo. ABSTRACT «Probably the Devil: The Elliptical Terror in The Seventh Victim». The Seventh Victim, first film directed by Mark Robson, is a magnificent example of the producer Val Lewton’s terror concept. His fourth RKO film, the first without Jacques Tourneur, reveals that Lewton was the genuine responsible of his fantastic cycle. KEY WORDS : RKO, Val Lewton, Mark Robson, B Film, terror, satanism, paladism. 163 Una película a redescubrir y reivindicar, ése es el caso de La séptima víctima (The Seventh Victim, 1943), la cuarta del ciclo de nueve cintas de terror de serie B producidas por Val Lewton en la RKO entre 1942 y 19461. Dirigida por Mark Robson en su debut como realizador, fue además la primera cuya dirección no corrió a cargo de Jacques Tourneur, tras La mujer pantera (Cat People, 1942), Yo anduve con un zombi (I Walked with a Zombie, 1943) y El hombre leopardo (The Leopard Man, 1943). Precisamente a consecuencia de los grandes éxitos de público obtenidos con estas tres, el estudio decidió separar al tándem Lewton-Tourneur, convencido de que rendirían el doble por separado, poniendo en seguida al francés al frente de mayores presupuestos.
    [Show full text]
  • Power and Paranoia
    Power and Paranoia: The Literature and Culture of the American Forties Course instructor: PD Dr. Stefan Brandt Ruhr-Universität Bochum Winter term 2009/10 Bibliography (selection) “A Life Round Table on the Pursuit of Happiness” (1948) Life 12 July: 95-113. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood” (1945) Life 3 Sept.: 53. Asimov, Isaac. “Robbie.” [Originally published as “Strange Playfellow” in 1940]. In: I, Robot. New York: Gnome Press, 1950. 17-40. ---. “Runaround.” [1942]. In: I, Robot, 41-62. Auden, W.H. The Age of Anxiety: A Baroque Eclogue. New York: Random House, 1947. Auster, Albert, and Leonard Quart. American Film and Society Since 1945. London and Basingstoke: Macmillan, 1984. Balio, Tino. The American Film Industry. Madison: University of Wisconsin Press, 1976. Barson, Michael, and Steven Heller. Red Scared: The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001. Behlmer, Rudy, ed. Inside Warner Brothers 1935-1951. New York: Viking, 1985. Belfrage, Cedric. The American Inquisition: 1945-1960. Indianapolis and New York: Bobbs-Merrill, 1973. Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960. An Exhibition and Catalogue. New Brunswick, N.J.: Rutgers Univ. Art Gallery, State Univ. of New Jersey, 1981. Birdwell, Michael E. Celluloid Soldiers: The Warner Bros. Campaign Against Nazism. New York: New York University Press, 1999. Boddy, William. “Building the World’s Largest Advertising Medium: CBS and Tele- vision, 1940-60.” In: Balio, ed., Hollywood in the Age of Television, 1990.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Course Summary
    PRELIMINARY COURSE SYLLABUS Course Title: Film Noir in the 1940s: The Primacy of the Visual Course Code: FLM 18 Instructor: Elliot Lavine Course Summary: *Please see course page for full description and additional details. Note About Live Attendance and Recording: These class sessions will be recorded. Live attendance is required to earn Credit. Grade Options and Requirements: · No Grade Requested (NGR) o This is the default option. No work will be required; no credit shall be received; no proof of attendance can be provided. · Credit/No Credit (CR/NC) o Students must attend at least 80% of class sessions. *Please Note: If you require proof that you completed a Continuing Studies course for any reason (for example, employer reimbursement), you must the Credit/No Credit option. Courses taken for NGR will not appear on official transcripts or grade reports. Tentative Weekly Outline: Please watch the listed films before the class session that week. They can be rented via YouTube Movies or Amazon, and some might be on services such as Hulu or Netflix. Typically, if you do a Google search for a title, it will display the various streaming options. PLEASE NOTE: At various times, certain films become unavailable for streaming on any platform. This was the case with the films THEY LIVE BY NIGHT and BODY AND SOUL, which were originally a part of this lineup, but are no longer available to rent. PRELIMINARY COURSE SYLLABUS Additionally, each week you’ll receive a link (or sometimes two) in your weekly Canvas message to watch BONUS NOIR FILMS via YouTube or some other mysterious source (for free), which will also become part of the Zoom conversation -- making each session a true double feature.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
    CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student.
    [Show full text]
  • 20Th Anniversary Initiation Banquet ·=- February 1956
    ( LlKA 20th anniversary initiation banquet ·=- february 1956 ALPHA CHAPTER DELTA KAPPA ALPHA 20th ANNIVERSARY INITIATION BANQUET Saturday, February 11, 1956 Biltmore Hotel - Los Angeles PROGRAM Introduction of Guests Barry Kirk Introduction of Honorary and Associate Members - Chris Seiter Introduction of Alumni and Active Members Welcome from the President Daulat Masuda "25 Years of Cinema at SC" Dr. Robert 0. Hall Message from the National President ('Daulat Masuda Initiation Ceremonies (Chris Seiter (Tom Conrad Presentation of Awards Daulat Masuda Introduction of Mr. Williams Daulat Masuda Acceptance Speech Elmo Williams, A.C.E. Intermission Film Showing of SC Cinema Production, THE FACE of LINCOLN Delta Kappa Alpha N a tiona! Honorary Cinema Fraternity SILVER ANNIVERSARY BANQUET honoring MARY PICKFORD and HAROLD LLOYD January 6, 1963 TOWN and GOWN University of Southern California / PROGRAM I. Opening Dr. Norman Topping, President, USC II. Representing DKA and Cinema Dr. Bernard Kantor III. l\!listress of Ceremonies Bette Davis IV. Harold Lloyd interviewed by Steve Allen Delmer Daves Jack Lemmon V. Film clips of Harold Lloyd VI. Adolph Zukor VII. Mary Pickford interviewed by Bette Davis George Cukor Arthur Knight VIII. Film clips of Mary Pickford Piano-Dave Raksin IX. Leonard Firestone, Chairman of USC Board of Trustees Presentation to Mary Pickford and Harold Lloyd X. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mrs. George Axelrod Miss Jeanette MacDonald Mrs. Harry Brand Mrs. Robert Stack George Cukor Miss Barbara Stanwyck Bette Davis Mrs. Norman Taurog Y. Frank Freeman Charles Walters Mrs. Beatrice Greenough Miss Ruth Waterbury l\llrs. Leiland Atherton Irish Mrs.
    [Show full text]
  • Ida Lupino (1918-1995): “The Only Female Director of Consequence Between Dorothy Arzner and Joan Micklin Silver”
    Ida Lupino (1918-1995): “The only female director of consequence between Dorothy Arzner and Joan Micklin Silver” Acting Founded The Filmakers with Collier Young in 1949 Director, screenwriter, producer Not Wanted (1949) Never Fear (1949) Outrage (1950) Hard, Fast and Beautiful (1951) The Hitch-Hiker (1953) The Bigamist (1953) Television The Hitch-Hiker (Lupino 1953) Nicholas Musuraca-Cinematography (1892–1975) Cinematographer for two of the film noir seminar films and one from six-week series Stranger on the Third Floor (Boris Ingster 1940) Cat People (Jacques Tourneur 1942) Out of the Past (Jacques Tourneur 1947) I Remember Mama (George Stevens 1948) The Blue Gardenia (Fritz Lang 1953) “I learned a lot from the late George Barnes, a marvelous cameraman.” Hitchcock’s Rebecca (1940) & Spellbound (1945) and Meet John Doe (Capra 1941) the difference maker Stylized Shadow opens and closes film Stylized Shadow opens and closes film Hitch-Hiker’s face obscured in shadow Hitch-Hiker’s face obscured in shadow Low Angle perhaps indicates Roy Collins’ (Edmond O’Brien) potential power tableau- from tableau vivant (French for “living picture”), at first a stage term for actors frozen and wordless on stage posed for a kind of painterly contemplation by the audience which later becomes a stylistic signature of former storyboard artist Alfred Hitchcock and former stage director Orson Welles. isolating internal framing Location Shooting Visual motif of watching and being watched The Ending Shots Jim Morrison’s song “Riders of the Storm” from The Doors1971 album L. A. Woman based on or as least alludes to Billy Cook’s story.
    [Show full text]