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County Theater ART HOUSE
A NONPROFIT County Theater ART HOUSE Previews108C JUNE – SEPTEMBER 2019 Gordon MacRae and Shirley Jones in Rodgers & Hammerstein’s OKLAHOMA! & Hammerstein’s in Rodgers Gordon MacRae and Shirley Jones INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS C OUNTYT HEATER.ORG 215 345 6789 Welcome to the nonprofit County Theater The County Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The Theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The County Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* ...............................$6.75 equipped with hearing enhancement headsets and closed cap- You must present your membership card to obtain membership discounts. tion devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not exist. Thank you for being a member. Contact us with your feedback How can you support or questions at 215 348 1878 x115 or email us at COUNTY THEATER the County Theater? MEMBER [email protected]. -
The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Whose Chopin? Politics and Patriotism in a Song to Remember (1945)
Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest). -
El Ltimo Hurra (1958) Ee.Uu
VIERNES 12 21‘30 h. EL LTIMO HURRA (1958) EE.UU. 121 min. Ttulo Orig.- The last hurrah. Dir ctor.- John Ford. Argum nto.- La novela homnima de Ed in O"Connor. Gui%n.- Frank Nugent. Fotografa.- Charles La ton, Jr. ((/N). Monta) .- Jack Murray. Productor.- John Ford. Producci%n.- Columbia .ictures. Int,rpr t s.- Spencer Tracy (Frank Skeffington), Jeffrey 2unter (Adam Caulfield), 3ianne Foster (Maeve Caulfield), .at O"(rien (John Gorman), (asil Rathbone (Norman Cass, Sr.), 3onald Crisp (El cardenal), James 5leason (Cuke Gillen), Ed ard (rophy (Ditto oland), John Carradine (Amos Force), Jane 3ar ell (Delia oylan). v.o.s.e. Msica de sala: Tempestad sobre Washington (Advise and consent, 1962) de Otto Preminger Banda sonora original compuesta por Jerry Fielding 1958 fue un a6o magn7fico para el arte cinematogr8fico. Es el a6o de V,rtigo (Alfred 2itchock), de El Hombr d l O st (Man of the :est" Anthony Mann), de S d d mal (Touch of Evil; Orson :elles). También es el a6o de EL LTIMO HURRA0 una pieza magistral a la que, curiosamente, s7 se le han puesto paliativos a lo largo de la historia de la cr7tica. Qué l8stima, cu8nta sabidur7a y belleza malgastada. El film es una crnica de una derrota que, en esta ocasin, llega a finalizar con la propia muerte. Una nueva eleg7a del tiempo pasado y perdido, una reafirmacin en los absolutos valores morales del héroe fordiano. Cuando John Ford realiza EL LTIMO HURRA ya ha firmado una de sus m8s sombr7as obras maestras, 1 ntauros d l d si rto (1956); otros t7tulos de esa misma década no est8n eAentos de su caracter7stica -
Film Noir - Danger, Darkness and Dames
Online Course: Film Noir - Danger, Darkness and Dames WRITTEN BY CHRIS GARCIA Welcome to Film Noir: Danger, Darkness and Dames! This online course was written by Chris Garcia, an Austin American-Statesman Film Critic. The course was originally offered through Barnes & Noble's online education program and is now available on The Midnight Palace with permission. There are a few ways to get the most out of this class. We certainly recommend registering on our message boards if you aren't currently a member. This will allow you to discuss Film Noir with the other members; we have a category specifically dedicated to noir. Secondly, we also recommend that you purchase the following books. They will serve as a companion to the knowledge offered in this course. You can click each cover to purchase directly. Both of these books are very well written and provide incredible insight in to Film Noir, its many faces, themes and undertones. This course is structured in a way that makes it easy for students to follow along and pick up where they leave off. There are a total of FIVE lessons. Each lesson contains lectures, summaries and an assignment. Note: this course is not graded. The sole purpose is to give students a greater understanding of Dark City, or, Film Noir to the novice gumshoe. Having said that, the assignments are optional but highly recommended. The most important thing is to have fun! Enjoy the course! Jump to a Lesson: Lesson 1, Lesson 2, Lesson 3, Lesson 4, Lesson 5 Lesson 1: The Seeds of Film Noir, and What Noir Means Social and artistic developments forged a new genre. -
Member Calendar MAR
Member Calendar MAR APR Mar–Apr 2019 “I never get over wondering at your prodigiousness,” MoMA founding director Alfred H. Barr Jr. mused admiringly to Lincoln Kirstein in 1945. Indeed, the extent of Kirstein’s influence on American culture in the 1930s and ’40s is hard to overstate. Best known for having cofounded, with the Russian choreographer George Balanchine, the School of American Ballet and the New York City Ballet, Kirstein was also a key figure in MoMA’s early history. Organizing exhibitions, writing catalogue essays, donating works to the Museum, and making acquisitions on its behalf, Kirstein championed a vision of modernism that favored figuration over abstraction and argued for an interdisciplinary marriage between the arts. Lincoln Kirstein’s Modern (Member Previews start March 13) invites you to rediscover rich areas of MoMA’s collection through the eyes of this impresario and tastemaker. The nearly 300 works on view include set and costume designs for the ballet; photography that explores American themes; sculpture that finds inspiration in folk art and classicism; finely rendered realist and magic-realist paintings; and the Latin American works that Kirstein purchased for the Museum in 1942. Some of these works might be old favorites, while others may represent new discoveries. The same is true for the Museum’s wide-ranging offerings this spring: the objects in The Value of Good Design may be things you use in your daily life; the paintings in Joan Miró: The Birth of the World may be familiar friends; while the recent acquisitions in New Order: Art and Technology in the Twenty-First Century have mostly not been seen before. -
Thequadrangletimes FEBRUARY 2015 ISSUE Written and Produced by Quadrangle Residents
TheQuadrangleTimes FEBRUARY 2015 ISSUE Written and Produced by Quadrangle Residents OUR FOURTH ANNUAL OBSERVANCE OF MARTIN LUTHER KING JR. DAY THE CALVARY BAPTIST CHURCH CHOIR AND THE AMW MUSIC GROUP PRESENTED MUSICAL ENTERTAINMENT, AND THE QUADRANGLE AUDIENCE JOINED IN FOR A SPIRITED FINALE, SINGING, “WE SHALL OVERCOME.” NEW RESIDENTS . WELCOME NEW RESIDENT LINDA COHEN Linda grew up in Brooklyn and graduated from Brooklyn College, where she majored in English. She married after college, and as her husband completed graduate work in different cities she attended college programs that interested her. When Linda and her husband lived in Providence, Rhode Island, she completed a master’s degree in teaching at Rhode Island College. Many years later when they lived in Lower Merion, she earned a second master’s degree in library science at Villanova University. For 15 years Linda worked as the librarian in the lower school of Episcopal Academy. She expanded the library’s role to function as a class with projects and report card grades. She developed assembly programs, bringing authors to talk about their books. Many years ago one of Linda’s daughters had a pen pal in Norway. By the time she finished college this friendship had blossomed into marriage. The couple lives south of Oslo, and over the years Linda has made 34 trips there to visit with them and her two grandchildren. Linda has another daughter and one grandchild who live in a Philadelphia suburb. For exercise Linda swims every morning for an hour and water walks for another hour. She has always enjoyed reading. -
UMVERSITY of ALBERTA from the Early 1920S to 1965 Mary Ross Glenfield a Thesis Submitted to the Faculty of Graduate Smdies and R
UMVERSITY OF ALBERTA The Growth of Theatre 'In Edmonton: From the early 1920s to 1965 '@? Mary Ross Glenfield A thesis submitted to the Faculty of Graduate Smdies and Research in partial fulfilment of the requirements for the degree of Master of Arts Department of Dnma Edmonton, Alberta Spriag, 2001 National Libtary Bibriithèque nationale I*I ofCanada du Canada Acquisitions and Acquisitions et BiMiographic Setvices seMces bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive permettant a la National Library of Canada to Bibliothèque nabonale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. La forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenuise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Dedicatiou To aii the people, known and unknown, who worked to make Edmonton theatre the vibrant entity that it is toâay. Abstract The city of Edmonton has an unusually large number of theatres, dy profession& for its size. By examining the theatricd history of the city, the aim of this thesis is to show the way in which this theatre environment grew, £tom the early nineteen- twenties to nineteen-sixty-five. -
Towards a Comparative Montage of the Female Portrait
Gonzalo de Lucas Translated by Alejandra Rosenberg TOWARDS A COMPARATIVE MONTAGE OF THE FEMALE PORTRAIT. THE THEATRE OF THE BODY: FICTIONAL TEARS AND REAL TEARS One of the many ways of approach- a more realistic image, thereby eroding ing film history—and probably one the distant, ideal image constructed in of the most neglected— is to examine the studio: a transition from an iconic how filmmakers portray actresses: the image to an indexical image, in which distances, relationships, and stories the effects of reality and the passing of which, behind the main plot, are cap- time on the body are made visible. In tured between the one filming and the the 1960s, filmmakers such as Bergman one being filmed. In cinema, unlike lit- or Cassavetes would take these signs to erature or painting, a character is not the absolute extreme, stripping the ac- only an imaginary being, but also a real tress of all but her condition as a per- person who inscribes his or her voice, son or a mask. gestures and gazes into the experience An actress usually portrays cry- of the film; this occurs “in the world ing as a fictitious and depersonalised and with the world, with real creatures dramatic moment of her private life. as raw material, before the intervention However, when modern filmmakers of language” (BERGALA, 2006: 8). transformed the cinematic forms of In this article, I will explore this the female portrait, in an effort to ex- work with corporeal matter, the signs pand the limits of everyday realism, inscribed as real presences, through they sought to make tears evoke or the tears of actresses in performances reveal something that belonged to the filmed by D. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Gilda's Gowns Rachel Ann Wise
AWE (A Woman’s Experience) Volume 1 Article 10 1-1-2013 Gilda's Gowns Rachel Ann Wise Follow this and additional works at: https://scholarsarchive.byu.edu/awe Part of the Film and Media Studies Commons, Fine Arts Commons, and the Women's Studies Commons Recommended Citation Wise, Rachel Ann (2013) "Gilda's Gowns," AWE (A Woman’s Experience): Vol. 1 , Article 10. Available at: https://scholarsarchive.byu.edu/awe/vol1/iss1/10 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in AWE (A Woman’s Experience) by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Gilda's Gowns Fashioning the Femme Fatale in Film Noir Rachel Anne Wise The 1940s brought the rise of a cynical, nihilistic film form in America, stereo typically characterized by its hardboiled detective crime plot starring a dominat ing female adorned in a black slinky dress with a pistol in her purse, seducing men and masterminding plots of cruelty and greed. This genre, film noir, grew out of the ashes of post-WWII America, lasting through the 19 50s and satisfying the growing market for pessimistic and violent thrillers. 1 Film noir has generated much scholarship since its mid-century inception, particularly for feminists, with the landmark publication of Laura Mulvey's 197 5 "Visual Pleasure and Narrative Cinema," an article that analyzed the male gaze, explicit voyeuristic elements, and inherent misogyny within the genre. Using a Freudian and Lacanian lens, she claimed that the femme fatale character, or "fatal woman," symbolized the ominous threat of castration. -
Carmen : Six Variations Sur Un Thème Isabelle Le Corff Et Cécile Vendramini
Isabelle Le Corff et Cécile Vendramini: Carmen : six variations sur un thème 19 CARMEN : SIX VARIATIONS SUR UN THÈME Isabelle Le Corff et Cécile Vendramini De nombreux ouvrages théoriques se sont penchés sur les adaptations du texte au cinéma, du texte au théâtre, du théâtre au cinéma. Le cas des adaptations de l’œuvre multiforme de Carmen est spécifique : il s’agit dans un premier temps de l’adaptation d’une nouvelle à un opéra, et dans un second temps de si nombreuses adaptations cinématographiques qu’il est parfois difficile de discerner si ces réadaptations sont issues de la nouvelle, de l’opéra, ou si elles ne sont que des remakes à l’initiative de studios avides de gain. L’abondance de films issus plus ou moins directement de la nouvelle de Mérimée publiée en 1845 invite à s’interroger sur la dimension répétitive de l’adaptation, du point de vue du spectateur certes, mais également du point de vue du créateur. Si, selon les propos de Bluestone, « il ne peut y avoir d’adaptée qu’une intrigue, et en aucun cas un style ou une écriture » (Balazs 17), quelle puissance cette intrigue revêt-elle donc pour être convoitée par tant de réalisateurs ? Ann Davies souligne à juste titre que l’histoire de Carmen n’est pas un mythe ayant toujours fait partie de la culture occidentale comme on pourrait le penser a priori. Si le récit apparaît pour la première fois dans la nouvelle de Mérimée en 1845, c’est l’adaptation en opéra comique par Bizet en 1875, d’après le libretto de Henri Leilhac et Ludovic Halévy, qui lui vaut sa première célébrité.