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The Picture Show Annual (1928)
Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton. -
Marian Constance Blackton
Marian Constance Blackton Also Known As: Marian Constance Blackton, Marian Constance, Marian Trimble, Marian Blackton Trimble, Mrs. Gardner James Lived: January 18, 1901 - December 12, 1993 Worked as: film actress, scenarist, script girl Worked In: United States by Cameron Howard Marian Blackton worked on over fifteen films during her short career as a scenarist and occasional actress. Her father, J. Stuart Blackton, one of the founders of the Vitagraph Company, directed all but two of her scenarios. Marian Blackton became her father’s script girl in 1921, and graduated to scenario writer in 1924. Most of her scenarios were dramas adapted from existing novels or plays. Blackton was the daughter of Isabelle MacArthur, the first of her father’s four wives. She grew up at the Vitagraph Company Studios, and thus her first appearance on screen seemed inevitable. She was watching the filming of her father’s The Life of Moses (1910), when she was spotted and sent to the costume department because they needed more extras. Blackton followed her father on location, later recalling in the biography she wrote of her father that “Location trips with my father’s company were my idea of heaven” (89). After graduating from high school, she asked to join her father, who was then working in England. As Anthony Slide explains, J. Stuart Blackton had left Vitagraph in 1917 to start his own independent company and by then Blackton Productions had a studio in London. He refused, but she went anyway, threatening, “You let me come over to England and learn the scenario business right now or I’ll join a burlesque show” (1987, 110). -
1000 and One--The Blue Book of Non-Theatrical Films
T#e Boctk of Iljoh-Thtefnoaf Pihis. e/., Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY sf CONGRESS Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record 100(W0NE (FOURTH EDITION) IheBlueBook Tbndkatrical THE EDUCATIONAL SCREEN CHICAGO NEW YORK. The Educational Screen, Inc. DIRECTORATE Herbert E. Slaught, President, The Dudley Grant Hats, Chicago Schools. University of Chicago. Frank R. Greene, New York City. Frederick J. Lane, Treasurer, Chicago Schools. William R. Duftet, Marquette University. Joseph J. Weber, University of Ar- Nelson L. Greene, Secretary and Editor, kansas. Chicago, EDITORIAL ADVISORY BOARD A. W. Abrams, N. Y. State Department Dudley Grant Hats, Assistant Sup't. of of Education. Schools, Chicago. Richard Burton, University of Minnesota. F. Dean McCluskt, Purdue University. Carlos E. Cummincs, Buffalo Society of Natural Sciences. Rowland Rocers, Columbia University. Frank N. Freeman, The University of H. B. Wilson, Superintendent of Schools, Chicago. Berkeley, Calif. STAFF Nelson L. Greene, Editor-in-Chief. Geneva Holmes Huston Marie E. Goodenouch, Associate Editor. Rev. Frank E. Jensen Robert E. Clark, Circulation Manager. Marion F. Lanphier George H. Hill, Eastern Representative. Carlos E. Cummincs Stella Evelyn Myers Josephine F. Hoffman Marguerite Orndorfv Publications of The Educational Screen The Educational Screen, (including Moving Picture Age and Visual Education), now the only magazine in the field of visual education. Published every month except July and August. Subscription price, $1.50 a year ($2.00 for two years). -
GCM2014 Catalogo Plus.Pdf
The 33rd Pordenone Silent Film Festival is dedicated to PETER VON BAGH (1943-2014) “We are the last generation which could know everything” ASSOCIAZIONE CULTURALE Italia: Aldo Bernardini; Irela Núñez Del Pozo, “LE GIORNATE DEL CINEMA MUTO” Franca Farina, Emiliano Morreale, Mario Musumeci (Centro Sperimentale di Cinematografia – Soci fondatori Cineteca Nazionale); Carmen Accaputo, Davide Paolo Cherchi Usai, Lorenzo Codelli, Pozzi (Cineteca di Bologna / L’Immagine Ritrovata); Piero Colussi, Andrea Crozzoli, Luciano De Giusti, Luisa Comencini, Matteo Pavesi (Cineteca Livio Jacob, Carlo Montanaro, Mario Quargnolo†, Italiana); Fotocinema; Sergio Mattiassich Germani; Piera Patat, Davide Turconi† Luca Giuliani; Alberto Barbera, Donata Pesenti Presidente Campagnoni, Claudia Gianetto (Museo Nazionale Livio Jacob del Cinema); Alessandra Montini (Orchestra Direttore San Marco); Federico Striuli; Fulvio Toffoli; Jay David Robinson Weissberg Olanda: Lotte Belice Baltussen; Rommy Albers, Ringraziamo per la collaborazione al programma: Sandra Den Hamer, Annike Kross, Marleen Labijt, Austria: Paolo Caneppele, Oliver Hanley, Alexander Mark-Paul Meyer, Elif Rongen-Kaynakçki (EYE Horwath (Österreichisches Filmmuseum) Filmmuseum); Oliver Gee; Nico de Klerk; Bregt Belgio: Nicola Mazzanti, Clémentine De Blieck Lameris (Cinémathèque Royale de Belgique) Norvegia: Tina Anckarman, Bent Kvalvik (Nasjonal- Finlandia: Antti Alanen, Peter von Bagh biblioteket) Francia: Mahboubi Fereidoun, Eric Le Roy Regno Unito: William Barnes; Bryony Dixon, Sonia (Archives françaises -
National Film Archive Catalogue, Part II
NATIONAL FILM ARCHIVE CATALO GU E Part II Silent Non-Fiction Films 1895-1934 [HE BRITISH FILM INSTITUTE LONDON 1960 ie, part II : silent 5-1934 J NATIONAL FILM ARCHIVE CATALOGUE Part II Silent Non-Fiction Films 1895-1934 Foreword by Sir Arthur Elton THE BRITISH FILM INSTITUTE LONDON 1960 Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/nationalfilmarchOOnati TABLE OF CONTENTS Foreword by Sir Arthur Elton Introduction by the Curator Arrangement of the Catalogue Credit Abbreviations Non-fiction Films, 1895-1934 Austria 1 Belgium . 1 Canada 1 Cyprus 1 Czechoslovakia 2 Denmark . 2 France 2 Germany . 18 Ghana 22 Great Britain 22 Italy . 125 Japan . 127 Netherlands . 127 New Zealand 128 Norway . 128 South Africa . 128 Sweden 130 Switzerland . 131 U.SA. 131 U.S.S.R. 146 Alphabetical Index to Film Titles Subject Index FOREWORD we can still consult the orations of Cicero, the commentaries of Julius Caesar and a fair number of the books of Livy. We often have the greatest difficulty in consulting film records ofeven the most epoch- making events in the first decades of the twentieth century. This is not only because paper, papyrus and parchment are more durable than cellulose nitrate, which is difficult to store, perishable, inflam- mable, and even spontaneously explosive, but also because the moving picture has positively attracted obliteration. People used to go out of their way to get rid of film the moment it ceased to be profitable. They were contemptuous of anyone who acted otherwise, and even today this attitude still lingers on. -
Filmography. In: Caughie, J., Griffiths, T
Caughie, J. (2018) Filmography. In: Caughie, J., Griffiths, T. and Vélez- Serna, M. A. (eds.) Early Cinema in Scotland. Edinburgh University Press: Edinburgh, pp. 190-238. ISBN 9781474420341. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/166390/ Deposited on: 10 August 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk CHAPTER 11 Filmography of Scottish-themed fction flms John Caughie This is intended as a comprehensive catalogue of Scottish-themed fction flms, produced in Scotland, England, Europe and the USA until 1927 and reviewed in the British and American trade press or on the Internet Movie Database (IMDb) or, on a few occasions, in local newspapers. There are a few criteria for being identifed as ‘Scottish-themed’: the flm is set (though not necessarily flmed), in whole or in part, in real or fctional Scotland; the flm has, in whole or in part, a signifcant Scottish story or draws on a Scottish story (the 1913 Annie Laurie is set in the American south, but draws on the Scottish song as a narrative link); a signifcant character is Scottish (Vitagraph’s The Wolf (1919) is set in a Canadian trapper camp, but the heroine’s ‘cruel father’, according to the Moving Picture World review, ‘typifes well the traditional Scottish male parent’). Thus flms may be wholly or partially Scottish, but the Scottish element is clearly identifed in press comment or reviews.