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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 .................... -
213 Nothing Like the South: Aurora Greenway – a Belle
NOTHING LIKE THE SOUTH: AURORA GREENWAY – A BELLE IN EXILE Anca Peiu University of Bucharest Larry McMurtry’s Terms of Endearment has been better known as a 1983 successful silver-screen story than as a 1975 best-selling novel, rather as a multiplereceiver of Academy Awards than as a most accomplished book by a prolific author and Pulitzer Prize winner. My return to it is justified by some recently read essays – neither on the film, nor on the book – but on the Belle and the South (indeed, an archetypal coupling somehow echoing Beauty and the Beast ). As for my title here – it oscillates between two Shakesperean sonnets: Sonnet 130 and Sonnet 3. Both poems appeal particularly to the sense of sight ; they are versions of that type of painting (also fiction) known as a portrait of a lady – who stays the lady even if she defies any canon of lady-likelihood – both as Shakespeare’s (image of the) lover and as McMurtry’s Southern Belle – from My mistress’ eyes are nothing like the sun… Thou art thy mother’s glass, and she in thee Calls back the lovely April of her prime; So thou through windows of thine age shalt see, Despight of wrinkles, this thy golden time… The latter quote opens Larry McMurtry’s novel, as a necessary motto. It evokes a specific traditional relationship: mother-daughter, by the classic symbol of the mirror . It could send us – via Larry McMurtry’s novel – to Katherine Henninger’s astute study of the impact of photography on the Visual Legacies of the South: Picture a southern woman . -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Little Miss Marker by John F
Little Miss Marker By John F. Kasson “Little Miss Marker” is a film about losers and win- ners, heels and heroes, defeat and dreams. Re- leased during the Great Depression in May 1934, it charmed audiences eager for comedy and sentiment, hope and redemption. In March of the previous year, Franklin D. Roosevelt famously declared, “The only thing we have to fear is fear itself,” and in its own way “Little Miss Marker” showed how confidence and cheer could triumph over gloom and suspicion. Loosely based on a Damon Runyon short story, the second of a score adapted to the screen, the movie casts a cheerful and trusting little girl into the unlikely custody of a motley mob of raffish bookies, race- horse touts, gangsters, gold-diggers, pugs, mugs, and petty crooks. The film also cast Shirley Temple, still under six years old when the movie was made, into her first starring role. Her co-star and comic foil , the elegant, urbane Adolphe Menjou played against type as a sour, scruffy, and stingy bookie with the wonderfully Runyonesque name of Sorrowful Jones. Lynne Overman brought his sardonic nasal delivery to Sorrowful’s clerk Regret, burly Charles Bickford swaggered as the gangster Big Steve, and Willie Best sleepily pushed a broom in the painfully stereo- typical role of Dizzy Memphis. As Big Steve’s some- time girlfriend Bangles Carson, nineteen-year-old for- mer beauty queen Dorothy Dell squeezed into a low- cut gown and sang torch-songs. Perhaps her best performance, it was also one of her last. She died in Studio publicists reckoned they’d sell more tickets if they a car crash a month after the film’s release. -
Sexual Implications in Shirley Temple's Movies
『영미연구』 제41집 (2017): 161-180 Docile Child and Pedophilic Sentimentality: Sexual Implications in Shirley Temple’s Movies Kim, Myungsung [Abstract] This essay explores the “sentimental sexuality” of the child movie star Shirley Temple. The pedophilic child fetishism implicit in her movies, which stimulated a male fantasy of an obedient female during the Great Depression, was an outcome of a cultural dynamic where the U.S. film industry attempted to find a way to relive the patriarchal failure of the era in a female body. Assuring the male ownership of a female body, this essay argues, Shirley Temple’s sentimental sexuality satisfies a paternal white gaze and, more importantly, “functions both to expose the constraints and limitations that the capitalistic unclear family imposes on women and, at the same time, to ‘educate’ women to accept those constraints as ‘natural,’ inevitable-as ‘given’” (Kaplan 124). Released by the time the Production Code Administration began prohibiting sexually suggestive scenes, Shirley Temple’s movies use family drama as a basic platform to stabilize the potential perversity of a white adult male desire. Such a construction of female child images promised the emotional stability of the nation under the Great Depression, while simultaneously fulfilling a patriarchal fantasy that identified female sexuality with child immaturity. 162 영미연구 제41집 Key Words: Shirley Temple, pedophilia, child sexuality, child sentimentality, Motion Picture Production Code Ⅰ. Introduction Shirley Temple was one of the most popular movie stars of 1930s Hollywood. The popularity of the ten-year-old celebrity was comparable to adult actors such as Clark Gable, Robert Taylor, and Bing Crosby. -
Modernizing the Greek Tragedy: Clint Eastwood’S Impact on the Western
Modernizing the Greek Tragedy: Clint Eastwood’s Impact on the Western Jacob A. Williams A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Claudia Gorbman E. Joseph Sharkey Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences Table of Contents Dedication ii Acknowledgements iii Introduction 1 Section I The Anti-Hero: Newborn or Reborn Hero? 4 Section II A Greek Tradition: Violence as Catharsis 11 Section III The Theseus Theory 21 Section IV A Modern Greek Tale: The Outlaw Josey Wales 31 Section V The Euripides Effect: Bringing the Audience on Stage 40 Section VI The Importance of the Western Myth 47 Section VII Conclusion: The Immortality of the Western 49 Bibliography 53 Sources Cited 62 i Dedication To my wife and children, whom I cherish every day: To Brandy, for always being the one person I can always count on, and for supporting me through this entire process. You are my love and my life. I couldn’t have done any of this without you. To Andrew, for always being so responsible, being an awesome big brother to your siblings, and always helping me whenever I need you. You are a good son, and I am proud of the man you are becoming. To Tristan, for always being my best friend, and my son. You never cease to amaze and inspire me. Your creativity exceeds my own. To Gracie, for being my happy “Pretty Princess.” Thank you for allowing me to see the world through the eyes of a nature-loving little girl. -
None of This Would Have Ever Happened If You Had Just Given an Oscar to Jennifer Lopez
NONE OF THIS WOULD HAVE EVER HAPPENED IF YOU HAD JUST GIVEN AN OSCAR TO JENNIFER LOPEZ By Tony Meneses Characters: Hugo Omar Nigel Elijah Yosef (all gay men of color in their 30’s/40’s) Setting: The last recorded Oscar party in gay history Time: February 9th, 2020 Wine. Charcuterie. Fresh fruit that no one’s eating. YOSEF. 1970? ELIJAH. ... Maggie Smith. NIGEL. Good one. YOSEF. 1991. ELIJAH Kathy Bates. HUGO. Also great. YOSEF. 1965! ELIJAH. Julie Andrews. NIGEL. (To Hugo.) Too easy. YOSEF 19... 46? ELIJAH. Joan fucking Crawford. NIGEL. HUGO. Oh my god! Yes ma-ma! NIGEL. That might actually be my favorite one. Mildred Pierce, can’t beat that. HUGO. What! Over Vivien Leigh, Ingrid Bergman, MERYL!?! 1 NIGEL. I stand by my decree. ELIJAH. Give me Elizabeth Taylor any day! YOSEF. 2002? In an instant it all goes quiet. NIGEL. ... What did you just say? YOSEF. 2002. Who won Best Actress in 2002? HUGO. Girl. Are you kidding? NIGEL. Oh god. She’s not. YOSEF. I’m not the biggest awards show gay, I’m sorry. HUGO. Who invited him again? ELIJAH. (Very serious.) 2002. That’s what you’re asking, Yosef? Two thousand, and two? YOSEF. Yes? ELIJAH. ... Halle Berry. Halle Berry won the Oscar that year. YOSEF. Oh. Isn’t that a good thing? We love Halle Berry. Don’t we? NIGEL. What kind of a question is that! 2 HUGO. You’re going to have to leave. ELIJAH. Halle Berry was—and remains to this day—the only woman of color to ever win the Academy Award for Best Actress. -
In St It Utodeestud Io Snorteamer Ic Anos
DIAS DAYS A n o V I APRIL 26 - MAY 3 N u m . 2 O B E l T i n t e r o obra original de Carlos Muniz, sera representada en el Teatro del Institulo los d'tas 28, 29 y 30 de abril. (Cease ultima pagina) INSTITUTO DE ESTUDIOS NORTEAMERICANOS Via Augusta, 123 - TelSIonos Z27 76 31 - Z17 73 9B - 228 90 38 . BARCELONA - 6 PROGRAM APRIL, 26 - MAY, 3 S u n d a y 2 6 11:00 a. m. Ensayo de “EL TINTERO”. Teatro. NOTE: The FILM SHOWING of the “THIS HAPPY FEELING” scheduled for today has been postponed to Saturday, May 2nd. M o n d a y 2 7 5:00 p. m. LADIES SECTION M EETIN G . Canasta-Bridge. Senior Member Lounge. 7th floor. 7:30 p. m. Ensayo General de “EL TINTERO”. Teatro. T u e s d a y 2 8 7:30 p. m. Representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 15 ptas.; no socios, 25 ptas. Wednesday 29 7:30 p. m. Representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 15 ptas.; no socios, 25 ptas. Thursday 30 10:45 p. m. LJltima representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 20 ptas.; no socios, 35 ptas. -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Stanley Kubrick, Spartacus and 1950S Jewish Masculinity Abrams, ND
Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish ANGOR UNIVERSITY Masculinity Abrams, N.D.; Abrams, N. Adaptation: The Journal of Literature on Screen Studies DOI: 10.1093/adaptation/apv006 PRIFYSGOL BANGOR / B Published: 30/03/2015 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Abrams, N. D., & Abrams, N. (2015). Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity. Adaptation: The Journal of Literature on Screen Studies, 8(3), 283-296. https://doi.org/10.1093/adaptation/apv006 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 29. Sep. 2021 Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity ‘The New York and Jewish origins and backgrounds of many of those associated with Spartacus – Douglas, Kubrick, and Curtis, among others – provide a political and cultural subtext to the film’ (Girgus 95). -
October/Octobre 2019 LODGER to Be the Leader in Personalized Care and Services Être Le Chef De File Des Soins Et Des Services Personnalisés
October/Octobre 2019 LODGER to be the leader in personalized care and services être le chef de file des soins et des services personnalisés Glen Stor Dun Lodge - Cornwall respect - compassion - communication - collaboration - team building respect - compassion - communication - collaboration - renforcement d’équipe Friendly Reminders Departmental Supervisors Special Care Have questions? Comments? Dementia Care We are just a phone call away Family Support Group 613-933-3384 Last Wednesday of each month Administration Ext. 4223 6:00 p.m. to 8:00 p.m. Nursing Ext. 4222 Glen Stor Dun Lodge Library Nutrition Care Ext. 4228 for more information, please call Program and Support Services 613-932-4914 (Activities, therapy, spiritual care, volunteer, hairdressing, Lodger) Ext. 4243 Family Council Meeting Support Services (Housekeeping, laundry, maintenance) Third Wednesday of each Ext. 4229 month Staff Development / Health & Safety 1:30 p.m. - Library Infection Prevention Control Officer except July, August, December Ext. 4235 Outreach Services Ext. 4234 Resident Council Meeting Notes: Fourth Tuesday of each month 10:30 a.m. - Chapel except July, August, December 2 Locations to Serve You 822 Pitt Street, Cornwall 218 Montreal Road, Cornwall 613-938-3888 Allan Wilson Ontario Licensed Local People You Know And Trust Proudly Canadian Funeral Director The Lodger October 2019 2 Lodge News - Flu Season Reminder 4 Life at the Lodge - Summer Carnival Bash 5 Life at the Lodge - Baking Delights 6 Hot Topics - Clint Eastwood 7 Musings - Betty White 8 Joyeux