DOCSLIB.ORG

Stanley Kramer Papers, 1945-1984

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/ft2x0nb09b No online items Finding Aid for the Stanley Kramer papers, 1945-1984 Processed by Charlotte Payne; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the Stanley 161 1 Kramer papers, 1945-1984 Finding Aid for the Stanley Kramer Papers, 1945-1984 Collection number: 161 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Charlotte Payne, October 1974 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, July 2002 Text converted and initial container list EAD tagging by: Apex Data Services © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Stanley Kramer Papers, Date (inclusive): 1945-1984 Collection number: 161 Creator: Kramer, Stanley Extent: 316 boxes (158 linear ft.)37 cartons (37 linear ft.)28 oversize boxes 2 oversize Folders Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Stanley Kramer (1913- ) was born in New York City. He began working in the film industry in the 1930s as a researcher, film editor, and writer, eventually working his way up to the position of associate producer by the early 1940s. Following World War II, he formed an independent motion picture company and produced modest-budget films. In 1951, he brought his company as an autonomous unit under the banner of Columbia Pictures. After 1955, Kramer directed and produced films receiving numerous awards and Academy Award nominations. The collection contains production files for Kramer's films, stills, scripts, audio tapes, ephemera, related correspondence, and memorabilia. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Language: English. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Restrictions on Access Finding Aid for the Stanley 161 2 Kramer papers, 1945-1984 COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Provenance/Source of Acquisition Gift of Stanley Kramer, 1969-84. Preferred Citation [Identification of item], Stanley Kramer papers (Collection 161). Department of Special Collections, Charles E. Young Research Library, University of California, Los Angeles. Biography Kramer was born on September 23, 1913 in New York City; attended New York University; in the film industry since the mid-30s as a researcher, film editor, and writer, he worked his way up to the position of associate producer by the early 1940s; following World War II, he formed an independent motion picture company, Screen Plays Incorporated, and produced modest-budget films; in 1951, he brought his company as an autonomous unit under the banner of Columbia Pictures; in 1954 the arrangement was terminated by mutual consent; after 1955, Kramer directed and produced films, including: The Pride and the Passion (1957), On the Beach (1959), It's a Mad Mad Mad Mad World (1963); in 1961 he received the Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences; six of Kramer's films as a director or producer earned Academy Award nominations: High Noon (1952), The Caine Mutiny (1954), The Defiant Ones (1958), Judgment at Nuremberg (1961), Ship of Fools (1965), and Guess Who's Coming to Dinner (1967); in 1991 he was honored with the Producers Guild's David O. Selznick Award. Scope and Content Collection contains production files for Kramer's films. Also includes stills, scripts, audio tapes, ephemera, related correspondence, and memorabilia. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Kramer, Stanley--Archives. Motion picture producers and directors--Archival resources. Main Section Physical Description: (Document Boxes) The Champion, (1949). Box 1 Final shooting script, annotated by Mark Robson. Box 1 Photo Play Magazine Award. Note See also: Boxes 301, 336. Home of the Brave, 1949. Box 1 Finding Aid for the Stanley 161 3 Kramer papers, 1945-1984 Container List Final shooting script, heavily annotated by Carl Foreman. Note (titled High Noon) - working title. Box 1 Folder of newsclippings. Box 1 Folder of awards. Note See also: Boxes 336, 356, and 360. The Men, 1950. Box 1 Final shooting script. Box 1 Folder of newsclippings. Box 1 Folder of awards. Box 2 235 stills, 8" × 1C. Note See also: Boxes 301, 357. Cyrano de Bergerac, 1950. Box 3 Final shooting script, heavily annotated by Carl Foreman. Box 3 Folder of newsclippings. Box 3 Folder of awards. Box 3 Finding Aid for the Stanley 161 4 Kramer papers, 1945-1984 Container List 184 stills, 8 × 10. Box 327 Poster of Cyrano de Bergerac, Japan, 1950. One sheet. Death of a Salesman, 1951. Box 4 Final shooting script, including all changes, cast lists, and production breakdown. Box 4 Folder of newsclippings. Box 4 Folder of awards. Note See also: Box 339. My Six Convicts, 1952. Box 4 Final shooting script. Box 4 Folder of newsclippings. Box 4 Folder of awards. The Sniper, 1952. Box 4 Final shooting script. Box 4 Folder of newsclippings. Box 4 Production breakdown. The Happy Time, 1952. Box 4 Finding Aid for the Stanley 161 5 Kramer papers, 1945-1984 Container List Final shooting script. Box 4 Folder of newsclippings. Box 4 Folder of awards. Box 4 33 stills. The Four Poster, 1953. Box 5 Final shooting script, heavily annotated. Box 5 Folder of awards. Note See also: Box 301. Eight Iron Men, 1952. Box 5 Final shooting script. Box 5 Folder of newsclippings. Member of the Wedding, 1952. Box 5 Final shooting script. Box 5 Folder of newsclippings. Box 5 Folder of awards. The Juggler, 1953. Box 5 Finding Aid for the Stanley 161 6 Kramer papers, 1945-1984 Container List Final shooting script, annotated. Box 5 Folder of newsclippings. The 5,000 Fingers of Doctor T., 1953. Box 6 Final shooting script, annotated, with stills. Box 6 Folder of newsclippings. The Wild One, 1954. Box 6 Final shooting script, heavily annotated. High Noon, 1952. Box 6 Final shooting script with story notes. Box 6 Folder of newsclippings. Box 6 File of 50 production stills. Box 6 Folder of awards. Note See also: Boxes 301, 357. The Caine Mutiny, 1954. Box 7 Final shooting script, heavily annotated by Edward Dmytryk. Box 7 Folder of awards. Box 8 Finding Aid for the Stanley 161 7 Kramer papers, 1945-1984 Container List 400 production stills, 8 × 10. Note See also: Boxes 301, 357. Not as a Stranger, 1955. Box 9 Final shooting script, including all changes. Box 9 Folder of newsclippings. Box 9 230 production stills, 8 × 10. Box 10 Production files (Actors' Contracts - Music and songs). Box 11 Production files (Negative cost - United Artists). The Pride and the Passion, 1957. Box 12 Piano score. Box 12 Music cue sheets and final dubbing. Box 13 Production files (Actors' Contracts - Dialogue continuity). Box 14 Production files (El Escorial - Publicity). Box 15 Production files (Sinatra, Frank - Wardrobe). Box 16 Story outline. Box 16 Second draft, shooting script. Box 16 Finding Aid for the Stanley 161 8 Kramer papers, 1945-1984 Container List Final shooting script. Box 16 Final shooting script, Spanish. Box 16 Display photograph with Stanley Kramer. Box 16 Folder of awards. Note See also: Boxes 302, 303, 304, 337. The Defiant Ones, 1958. Box 17 106 production stills, 8 × 10. Box 17 Original first draft screenplay. Box 17 Final draft screenplay, heavily annotated by Stanley Kramer, with scene breakdown on each page. Box 17 Photograph of Stanley Kramer, 11 × 14. Box 17 Folder of awards. Box 18 Production files. Box 19 Holograph lead sheets for music, 28 leaves. Note See also: Boxes 304, 337, 357, 366. On the Beach, 1959. Box 20 First draft screenplay, heavily annotated by Stanley Kramer. Finding Aid for the Stanley 161 9 Kramer papers, 1945-1984 Container List Box 20 First draft screenplay revised. Box 20 Draft of script from France by John Paxton, original typescript. Box 20 Folder of awards. Box 21 230 production stills. Box 22 230 production stills. Box 23 Production files (Actors' Contracts - Clearances). Box 24 Production files (Comments - M.P.P.A.). Box 25 Production files (Music cue sheets - Publicity). Box 26 Production files (Riverside International Raceway - Zagon). Note See also: Boxes 305, 306, 307, 338, 340, 357. Inherit the Wind, 1960. Box 27 Treatment by Earl Felton, March 2, 1958, original typescript. Box 27 Story treatment, original typescript, heavily annotated by Earl Felton. Box 27 Synopsis by Earl Felton, April 3, 1957. Box 27 First draft screenplay by Nathan Douglas and Harold Smith, September 3, 1958.
Recommended publications
  • A.D. Players Presents a Compelling Guess Who's Coming to Dinner

    A.D. Players Presents a Compelling Guess Who's Coming to Dinner

    Houston's independent source of local news and culture Playing A decision that affects two families and tests their real belief systems. Photo by Joey Watkins Photography A.D. Players Presents a Compelling Guess Who's Coming to Dinner D. L. GROOVER | FEBRUARY 2, 2020 | 11:21AM I'm not sure I can accurately give a review of A.D. Players' Guess Who's Coming to Dinner because I'm fairly certain I didn't see all of it. I was completely dumb-struck by Kirk A. Domer's luscious – and I mean luscious – set design for the Drayton's swanky mid-century aerie home in the San Francisco hills, and I spent a great deal of time mentally rearranging my furniture from home to see where it might fit into these swell new digs. The place is stunning, and I'm moving in. If you're a fan of HGTV, you, too, will join me. An immense cantilevered skylight anchors the room, as does its opposite focal point, the stone hearth and open fireplace that separates living room from dining room. The floors are polished stonework or wood; I couldn't tell since they are covered by huge patterned rugs of artful design. The doors are paneled with horizontal panes of glass, an iron staircase winds up to the bedroom level, niches with tasteful objets d'art fill the walls, the light fixtures are those cool atomic chandeliers, classy modern art graces the walls, painted tile edges the bar counter. This place speaks power and money and class. Oh, there's a play going on inside it.
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South

    Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South

    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
  • JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009

    JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009

    JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES.
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)

    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)

    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
  • Llyn Foulkes Between a Rock and a Hard Place

    Llyn Foulkes Between a Rock and a Hard Place

    LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M.
  • Affirmative Action.Pdf

    Affirmative Action.Pdf

    Critical Race and Whiteness Studies www.acrawsa.org.au/ejournal Volume 8, 2012 BOOK REVIEW Hamilton Carroll. 2011. Affirmative Reaction: New Formations of White Masculinity, Durham and London: Duke University Press. Timothy Laurie University of Sydney To borrow a phrase from a program that foreshadows much of Hamilton Carroll’s argument, Affirmative Reaction reads like a captain’s log of what stressed out, fed up, self-sacrificing white men are up to on America’s screens – and sometimes, on paper and CDs too. Drawing on films (Brokeback Mountain, Million Dollar Baby, Gran Torino, Traffic and Syriana), television programs (24, American Chopper), comics (The Call of Duty) and music (Eminem, including 8 Mile), Carroll argues that “appeals to injury... incorporate and mobilize failure as a constitutive force for the reorientation of posthegemonic forms of white masculinist privilege” (2). Rather than distancing itself from identity politics, associated here with “women’s rights, gay rights, and civil rights eras” (7), white masculinity now announces itself as a marginal identity: Clint Eastwood the reformed racist and conscientious hero in Gran Torino, Michael Douglas the troubled and transformed father in Traffic, and Eminem the ‘white trash’ upstart in 8 Mile. In other texts, notably Million Dollar Baby and a series of comics based on September 11 fire-fighters, the special status afforded to white ethnicity also serves as an alibi for familiar clichés of white male heroism. The title of this book is misleading - better would be Hamilton
  • Blaxploitation and the Cinematic Image of the South

    Blaxploitation and the Cinematic Image of the South

    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
  • The Night of the Hunter: Noirish Or Film Noir?

    The Night of the Hunter: Noirish Or Film Noir?

    The Night of the Hunter Noirish or film noir? Sigurd Enge A Thesis presented to the Department of Literature, Area Studies and European Languages, the University of Oslo, in Partial Fulfillment to the Requirements for the MA degree in North American Studies ENG4970 Masterspesialisering i engelsk, LAP Thesis advisor: Mark Luccarelli Autumn 2009 Table of Contents Introduction 3 Chapter 1: The Novel and the Film 6 A Short Synopsis of the Book 6 The Film as a Critical Text 7 The Film as Work of Art 11 Reception 13 Chapter 2: What Is Film Noir Anyway? 18 A Short Synopsis of the Film Noir Debate 20 The Noirish Aspects of the Night of the Hunter 25 The Malaise and Social Criticism of The Night of the Hunter 33 “A Faith Deformed” 35 Chapter 3: Further Analysis 44 The Stylistics of The Night of the Hunter 44 The Mixture of Expressionism and Realism in Hunter 53 Harry Powell – Urban psychopath, Frontiersman or Demon? 57 Conclusion 61 Bibliography 64 2 Introduction The first time I saw Charles Laughton’s The Night of the Hunter was at Riverside Studios in London in 2004. It was on a double bill with Jacques Tourneur’s acknowledged film noir classic Out of the Past, which I liked a lot more than Hunter. The latter seemed over acted and strange to me, and I found it much easier to enjoy a film about a private detective who was lured into violence and crime by a beautiful femme fatale. Out of the Past seemed more realistic and cooler, because it had people smoking cigarettes in dimly lit rooms and because it was full of banter with sexual innuendo.
  • GRIT Program Schedule Listings in Eastern Time

    GRIT Program Schedule Listings in Eastern Time

    GRIT Program Schedule Listings in Eastern Time Week Of 02-06-2017 Grit 2/6 Mon 2/7 Tue 2/8 Wed 2/9 Thu 2/10 Fri 2/11 Sat 2/12 Sun Grit 06:00A The Californians: TV-PG L, V; CC The Californians: TV-PG L, V; CC The Californians: TV-PG L, V; CC The Californians: TV-PG L, V; CC The Californians: TV-PG L, V; CC Movie: Outlaw Justice Movie: McLintock! 06:00A 06:30A Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC TV-14 V; 1999 TV-PG V; 1963 06:30A CC CC 07:00A Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC 07:00A 07:30A Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC Death Valley Days: TV-PG L, V; CC 07:30A 08:00A Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Movie: The Last Days Of Frank & Jesse 08:00A 08:30A Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; James 08:30A TV-PG D, L, S, V; 1986 09:00A Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Zane Grey Theatre: TV-PG L, V; Movie: Ten Wanted Men 09:00A CC 09:30A Zane Grey Theatre:
  • ^ Exhibition Advisory

    ^ Exhibition Advisory

    ^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz.
  • THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE As of July 2013

    THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE As of July 2013

    THE STANLEY KRAMER COLLECTION at UCLA FILM & TELEVISION ARCHIVE as of July 2013 For more information, please e-mail the Archive Research & Study Center [ARSC] at [email protected] TITLE YEAR INV # FORMAT TYPE 1989 SIMON WIESENTHAL CENTER ANNUAL BANQUET 1989 M160341 1/2 IN. VHS VIDEOCASSETTE #2: TWELVE (12) ORIGINAL COMMENTARIES SENT TO US BY KRAMER IN 1977 M159949 1/4 IN. AUDIO REEL EARLY OCTOBER 34TH ANNUAL ACADEMY AWARDS SHOW: STANLEY KRAMER RECEIVING M160350 1/2 IN. BETACAM SP THE THALBERG AWARD #4: TWO (2) ADDITIONAL COMMENTARIES RECEIVED BY NORMAN 1977 M160250 1/4 IN. AUDIO REEL GLADNEY ON DECEMBER 5, 1977 5,000 FINGERS OF DR. T. 1953 M14494 16 SAFETY 5000 FINGERS OF DR. T -- CLIP REEL M160356 1/2 IN. BETACAM SP A.M. AMERICA: LT. CALLEY SEGMENT, STANLEY KRAMER 1/8/1975 M159434 3/4 IN. VIDEOCASSETTE ABC LATE NIGHT: THE COMEDIANS 1974 M159426 3/4 IN. VIDEOCASSETTE AMERICAN MASTERS -- SIDNEY POITER: ONE BRIGHT LIGHT M160331 1/2 IN. VHS VIDEOCASSETTE BIRTHDAY SEGMENT: CNN 9/29/2000, SHOWBIZ TODAY, KCBS 2000 M160334 1/2 IN. VHS VIDEOCASSETTE ENTERTAINMENT TONIGHT BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M6544 16 SAFETY BLESS THE BEASTS AND CHILDREN 1971 M19442 35 SAFETY [BLESS THE BEASTS AND CHILDREN -- EXCERPTS]. 1971 M14716 16 SAFETY [BLESS THE BEASTS AND CHILDREN -- TRAILER. TEASER NO. 2]. 1971 M48224 35 SAFETY CAINE MUTINY 1954 M6276 16 SAFETY CAMERA 4 REPORTS. STANLEY KRAMER, THE MOVIES, AND B.Y.U. 1972 T7412 2 IN. VIDEOREEL CARY GRANT: THE LEADING MAN M160347 1/2 IN.
  • 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 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.