DOCSLIB.ORG

SENIOR TIMES Seniors to Greet, Serve Lunch Their Hands Before Eating

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SENIOR TIMES Seniors to Greet, Serve Lunch Their Hands Before Eating OHIO’s FOREMOst NEWsMagaZINE FOR BOOMERs & BEYOND august 2015 Volume 34 - Issue 8 Free Lunch Program Connecting with children FEATURINg by Steve Nichol Hockey has Since mid-June, as many no age limit as 30 children a day have been making noon-time page 3 appearances at Homeport’s Elim Manor apartment community for seniors. The attraction: a free lunch Job Fairs sandwiched between grand- parent-like conversations page 7 and hugs. Columbus Recreation and Parks Department, and its partners, will provide more than 630,000 meals this summer at 270 locations. But the Elim Manor opera- tion is one of a kind in its inter-generational impact. “We are excited about it,” said Julie Bishop, assistant program director for the Manor seniors and devel- summertime meals, agreed Elim Manor residents Recreation and Parks Sum- oped a plan rotating them with Fuller’s assessment. love the interaction that SENIORS GUIDE mer Food Program. “We through different assign- “I love the children. I begins when the children are hoping it’s an idea that Pull-out pages 9-12 ments in the Elim Manor love them a lot,” Warren enter the rear doors of their spreads throughout the city community room. said. “This is food for my community center. SUBSCRIBE FREE!! next year.” “One day they make sure soul. I enjoy seeing their “I have actually had one The idea of enlisting Elim the children wash and dry bellies fill up.” of the children tell one of SENIOR TIMES seniors to greet, serve lunch their hands before eating. So do the kids. the resident volunteers that online e-edition and monitor the children in The next they may physi- “I get to eat!” Sarah Cal- she reminded them of their a safe and caring environ- cally hand the children the loway, 9, said succinctly, grandmother and asked All you need to do is ment came from Angela pre-made lunches. Others about her experience. for a hug,” Fuller said. send an email to Fuller, community manager help children open their Sarah’s mother, Leslie “This was wonderful to [email protected] for Wallick Communities, food, clean up spills see as this resident We’ll send you a notice the property management and heat up food if doesn’t usually company for Elim Manor requested,” Fuller said. have company and and a link each time and homes in neighboring a new Senior Times One senior gets to now looks forward Elim Estates. be the “Hall Monitor,” to seeing that child edition is available! In previous summers, making sure there is each day.” Elim Estates children re- no lingering if chil- Volunteer Rachel ceived meals handed to dren need to use the Eiland said the good them from the back of a Elim Manor first floor feelings are con- truck sent by Recreation bathroom. The resi- tagious. One day INsIDE and Parks. But this year the Aging Not For Sissys ..........................17 dent volunteers also she gave one of city could not find a driver ensure program rules the area children to deliver to the Southeast are followed. No food a hug, prompting At The Centers ...................................16 Columbus neighborhood is allowed to leave the the child’s sister to five days a week. room and adults are request one too. At Your Service ...................................17 Fuller, who remembered not allowed to eat it. “I said, ‘sure growing up receiving the “It has gone very honey,’” Eiland re- Crossword Puzzle ...............................15 USDA program meals, said well and the seniors have Calloway, said the children called. “It made my day.” she did not want the chil- truly been enjoying it,” see the half hour in the dren to lose access to food. Fuller said. community center as an Steve Nichol is Home- Hall of Fame .........................................6 In some cases, the lunch – a Mary Warren, one of nine outing in what otherwise port’s Manager of Public sandwich, chocolate milk, Elim seniors who stepped can be a slow time of year. Relations. Homeport is Introductions ......................................17 apple or applesauce - can be forward when it appeared “The kids look forward dedicated to safe, afford- their only substantive meal, neighboring children, ages to it. There is not a lot (oth- able housing in Central Postcard From Columbus ...................4 she said. 1 to 18, might not otherwise erwise) going on out here,” Ohio. steve.nichol@home- So she recruited Elim receive the federally funded Calloway said. portfolio.org Savvy Senior .........................................5 Tinseltown Talks ...................................8 mymedicarequestion.com Taste This! ...........................................14 Medicare Questions? Answers Here! 844-4ME-ABCD 844-463-2223SENIOR TIMES - AUGUST 2015-1 COLUMBUS MAKE IT A NIGHT Take a trip to the red carpetHollywood featuring over 2,200 slots, 100 live table games and the largest poker room in Ohio. Experience five delicious restaurants from Final Cut, our 4-star steakhouse, to the authentic Asian cuisine of Zen Noodle. Plus, enjoy free live entertainment every weekend*. THERE’S NO PLACE LIKE HOLLYWOOD 2OO GEORGESVILLE ROAD. COLUMBUS, OH 1-855-617-42O6 H HOLLYWOODCOLUMBUS.COM *Music schedules are subject to change. Must be 21 years or older. GAMBLING PROBLEM? CALL 1-800-589-9966 FOR HELP. 2-SENIOR TIMES - AUGUST 2015 silver skaters Hockey has no age limit by Erica Curless, “Women my age did not cause their husbands played. ing the regular league’s Fri- game, they sip from flasks her silvery gray purse over The Spokesman-Review have team sports when we Others, like Kellner, had day night rec games. Some filled with whiskey, Fireball her shoulder as she holds her (Spokane, Wash.) were young.” said Kellner, children who became in- also skate on co-ed teams. and other pre-game spirits of helmet with full face guard who turns 70 this year and terested in the sport. Some The women’s games are courage as they put on their in the other hand. (TNS) Hockey has no age attended high school long received peer pressure from slower and lower-scoring shoulder, knee and elbow “This isn’t a purse,” she limit. It’s a lifelong sport, before Title IX established friends who were already than the men’s games and pads and tape their colorful jokes. “This is a big bag of so say the women in the girls sport teams in 1972. playing. the puck is easy to track. Yet stockings in place. whoop ass.” newly formed Silver Skat- “This is good for us. We’re Sharon Meyer started at there is lots of action and Kyle pulls red jerseys from Jean Tarr, 54, shows off ers – a division of Spokane learning to play as a team.” 57, when her coworker at even more laughs. a big bag and calls out num- her “hot-flash” gloves, thick Women’s Hockey League Kellner came up with the Spokane Community Col- “My husband always com- bers. protective gloves with holes for women age 50 and older idea for the Silver Skaters lege encouraged her to join. worn in the fingers. ... much older. after registering women for “I was hooked,” Meyer These women obvious- Olga Pasher is 75. Sharon the league’s new season. said, adding that skating is a ly enjoy themselves. The Meyer is 72. Nancy Kellner She realized there were good weight-bearing exer- laughing lasts as they sit in is 69. Deb Kyle is 63. The enough older skaters to cise and that it’s easy on the the box and as they skate out other gals are youngsters in make a team. Then came the joints because of the gliding. onto the ice for quick 1-to-2 their 50s. idea for a 50-plus women’s Yet, like most things, it’s minute bursts of game time Yet those numbers are as jamboree where the Silver not totally safe. Players still before they switch off with irrelevant as the notion that Skaters invited other skaters fall. Sometimes they can’t other players. hockey is about blood, bro- from across the region and stop and crash into one an- At 75, Pasher is the ken teeth and fights. Canada. other. Ankles twist. “mom” of the team. She “People have a really Spokane’s first Silver “The fights are just part of hasn’t played in several strange notion of who plays Skaters Jamboree is Sat- the show,” Kyle said about years but is back on the ice hockey,” said Kyle, a recent- urday and Sunday at the the bloody dog piles for getting ready for the jam- ly retired college instructor, Eagles Ice-A-Rena. Be- which the sport is infamous. boree. Raised in Alberta, while helping pin a black cause of schedules, weather “We’re much more into the Silver Skaters members, left to right, Deb kyle, 63, Sara Pasher skated a lot as a kid Silver Skaters patch on one and short notice, it appears game.” Minier, 39, and Mel Anderson, 44, suit up before their but, even in Canada girls of her teammate’s oversized only players from Grand Besides, she said, the Spokane Woman’s hockey League game on Friday, Jan. didn’t play hockey. jersey. Forks, British Columbia, women’s league scrambles 9, 2015, at eagles Ice Arena in Spokane, Wash. (Photo She remembers moving The Silver Skaters are all are attending. Kellner hopes the teams each year so that credit: Colin Mulvany/The Spokesman-Review/TNS) to Spokane in the ’60s and about camaraderie, the fi- that the jamboree grows person who was your nem- working with a couple wom- nesse of skating and playing to include women from esis last year is likely to be ments that ‘You guys smile “I’m 9,” Meyer shouts, en to start a female hockey on a team for fun regardless Montana, Alberta and other your teammate this year.
Load more

Recommended publications
  • Funny Games and the History of Hostage Noir
    ANN NO STOCKS SAVAGE NO SPORTS TRIBUTE ™ ALL NOIR www.noircity.com www.filmnoirfoundation.org VOL. 4 NO. 1 CCCC**** A PUBLICATION OF THE FILM NOIR FOUNDATION BIMONTHLY 2 CENTS MARCH / APRIL 2009 BLACK AND WHITE AND READ ALL OVER IN MEMORIAM DAHL, DEADLINES ANN SAVAGE DOMINATE NC7 By Haggai Elitzur Special to the Sentinel n e l or January, San Francisco’s weather was l A . unusually warm and sunny, but the atmos- M d phere was dark and desperate indoors at the i v F a Castro Theatre, as it always is for the NOIR CITY D film festival. On this, the festival’s seventh outing, Eddie Muller and Arlene Dahl onstage at the Castro most of the selections fell into the theme of news- paper noir. tive MGM when Warner Bros. was tardy in re- upping her contract. Arlene Dahl: Down-to-Earth Diva Dahl described meeting a large group of This year’s special guest was the still-beauti- friendly stars, including Gary Cooper, on her very ful redhead Arlene Dahl, whose two 1956 features first day on the Warner Bros. lot. She also offered screened as a double bill. Wicked as They Come some brief details about her two-year involvement By Eddie Muller was a British production featuring Dahl as a social with JFK, which was set up by Joe Kennedy him- Special to the Sentinel climber seducing her way across Europe. Slightly self. It was a spellbinding interview with a great Scarlet, a Technicolor noir filmed by John Alton, star; Dahl made it clear that she loved the huge ANN SAVAGE CHANGED MY LIFE .
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Janfeb03 (Page 2)
    January - February, 2003 50 Years Ago... by Carla Whalen The lot was humming with activity in Allen, Slim Pickens, Eddy Waller, Roy the years 1952 and 1953. Republic Pictures Barcroft, Rod Cameron, Forrest Tucker, owned the facility, continued to produce Harry Carey, Jr., John Agar and Jim Davis; feature films, and was beginning to enter with cowgirls Mary Ellen Kay, Penny into television production. Republic made Edwards, Marjorie Lord, Estelita Rodriguez forty-six features in ’52 and ’53, of which and Gale Storm. The most famous feature twenty six were westerns starring big B- of this two-year period was The Quiet Man movie cowboys Allan "Rocky" Lane, Rex starring John Wayne, Maureen O’Hara, Barry Fitzgerald and Ward Bond. This was shot mostly on distant location in a very rainy Ireland, with the interiors done back here on the lot on what are now Stages #9 and #10. Republic also continued producing the "cliffhanger" serials it was famous for and Bill Williams, Kit Carson produced four 12-episode Chapterplays during 1952-53; Canadian Mounties vs. over three-hundred fifty B-westerns, Atomic Invaders, Radar Men from the Moon, including fifty-six Gene Autry and eighty- Zombies of the Stratosphere and Jungle Drums two Roy Rogers singing cowboy oaters. By of Africa starring Clayton Moore, who was the early 50’s Republic’s production schedule taking a break from his role as "The Lone was the lowest it had been since 1935, and Ranger." Republic produced Commando Cody most shows were shot on location leaving the – Sky Marshal of the Universe as a television stages available to independent producers.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • 'Why Does It Look Like This?' a Visual Primer of Early Cinemascope
    ‘Why Does It Look Like This?’ A Visual Primer of Early CinemaScope Composition Issue 9 | Movie: A Journal of Film Criticism | 76 Like most primers, this one begins with the simplest of in nearly its most elemental form. The central curtain, like illustrations, and then, progressively, presents more complex the central section of the accompanying grid, separates the variations, until it concludes with a discussion of a sequence two rabatted squares. Conduits extend down the centreline from a specific film, The Girl Can’t Help It(Twentieth Century- of both squares in the frame, dividing them in half, just like Fox, 1956; director; Frank Tashlin; production designers: the vertical lines dividing the squares in the diagram. Indeed, Lyle Wheeler and Leland Fuller) that makes this underlying the conduit in the left square leads to a red light precisely at compositional logic explicit for dramatic purposes. its centre. The curtain at the right of the frame fills half of Normally, composition is thought of as part of a film’s the right square. Professor Denise Gerard (Bella Darvi) is mise-en-scène, the conscious choice, usually made by the positioned on the vertical midline of the right square. As director, of positioning objects and actors within the frame. examples from other films will illustrate, her position there is This essay radically relocates the genesis of CinemaScope almost a rule in compositions based upon rabatment. composition to the set designers’ use of an underlying grid ‘Why Does It Look Like This?’ to define the proportions of sets. Rather than something that A Visual Primer of Early directors arrange on a set in front of the camera, CinemaScope composition, then, is designed into the sets before they are CinemaScope Composition even built.
    [Show full text]
  • Rhonda Fleming Rhonda Fleming 45
    Rhonda Fleming Rhonda Fleming 45 Die programmatische Göttin Ära. Die Fleming, so stellen Ian und Elizabeth Cameron Sie gehört zur Spezies der Redheads. Vielleicht sogar in ihrem Kultbuch »Broads« fest, sei stets eine Frau ge- ist sie die schönste unter den Rothaarigen, strahlender wesen, die sich zuerst auf sich selbst verlassen habe. noch als Susan Hayward, Jeanne Crain, Arlene Dahl, Sogar wenn sie ernsthaft bedroht gewesen wäre wie in Tina Louise oder Lisa DeLecuw. Sie ist eine Redhead- CRY DANGER oder THE KILLER IS LOOSE sei sie nie Exotin, eine Eingeborene des Landes von Technicolor. hilflos erschienen. Dieser Mangel an Verletzlichkeit, so Der blütenweiße Teint, die durchdringenden grünen mutmaßen die Camerons, habe wohl dazu geführt, daß Augen und das tizianfarbene Haar scheinen gleichsam sie keine ganz große Karriere gemacht habe. herangewachsen zu sein unter den Scheinwerfern der Rhonda Fleming verbindet man nicht so sehr mit ein- Hollywood-Studios. Rhonda Fleming, sie ist ein Pop-de- zelnen Filmen, eher mit Genres und dem amerikani- luxe-Geschöpf der 50er Jahre; hätte sie ihre Karriere schen Fifties-Kino an sich. Man denkt bei ihr an den später begonnen, dann wäre sie möglicherweise als Film Noir, an Western, Technicolor-Exotica und High androgyner Superstar bei Andy Warhol gelandet. Camp-Filme, die in fernen Zeiten und fernen Ländern In manchen ihrer Filme sieht man sie mit ihrer grandio- spielen, in Babylon und am Nil, in Hongkong und am sen Figur, die sich selbst nachzupfeifen scheint, im Hin- Amazonas. Manchmal, so wage ich zu behaupten, ist tergrund stehend, das Treiben der Männer mit Inte- eine wie Rhonda Fleming das Kino selbst.
    [Show full text]
  • Margaret Maile Petty
    Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol. 31 edited by Christoph Schnoor (Auckland, New Zealand SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014). The bibliographic citation for this paper is: Margaret Maile Petty, ”Day and Night, Ladies, Watch Your Light: The Gendered Discourse and Aesthetics of Electric Lighting for the Domestic Interior, in the United States, 1900s-1950s,“ in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 309–320. Published in Auckland, New Zealand: SAHANZ and Unitec ePress [ISBN - 978-1-927214-12-1]; and Gold Coast, Australia: SAHANZ [ISBN - 978-0-9876055-1-1] All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editor. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Margaret Maile Petty, Victoria University of Wellington Day and Night, Ladies, Watch Your Light: The Gendered Discourse and Aesthetics of Electric Lighting for the Domestic Interior in the United States, 1900s–50s This paper explores the translation of beliefs regarding women’s agency and identity within the domestic interior into new, gendered applications of electric lighting in the United States in the first half of the twentieth century. In this period the electrical industry drew upon cultural constructions of feminine beauty and interior decoration to market a variety of products and lighting applications for domestic interiors.
    [Show full text]
  • 1948-05-07, [P ]
    ’(J . Friday, May 7, 1948 TOLEDO UNION JOURNAL Page Five “Words and Music” Under Bill Elliott’s i\iece Debuts Way With All-Star Cast HOLLYWOOD — Dian* • Nance, 5-year-old moppet, HOLLYWOOD—“Words and Music,” all-star Technicolor mu- was signed recently for the UL’al based on the careers of song writers Rodgers and Hart, was cast of Paramount’s “The launched into production this week as one of the top films of the Great Gatsby,” in the role year, with a cast of top Hollywood personalities headed by Judy of daughter of Betty Field Beautiful Menace “Mr, Miracle” Due Singers All! Garland, Mickey Rooney, Gene Kelly, June Allyson, Ann Sothem, and Barry Sulivan. It ts the Ann Miller, Betty Barrett, Janet From Columbia first screen role for the f < W/ fa /, s&t * Leigh, Tom Drake, Cyd Charisse. youngster, who is the niece HOLLYWOOD-----Milton Perry Como, Marshall Thomp­ Rita Hayworth of Bill Elliott, western star. % I Holmes, who wrote the original son, Lena Home, Vera-Ellen and “The Great Gatsby” co- ■a,.-- Mel Torme. < story and served as associate <£ stars Alan Ladd, Macdonald producer on one of Columbia’s ’In addition to brilliant cast, Carey, Ruth Hussey and , production will be highlighted by Howard Da Silva in addi­ biggest hits, “Johnny O Clock,” X^/filmdom’s record in musical num­ tion to Miss Field and Sul- which starred Dick Powell and bers, 24. for the total, among them the dodgers and Hart livaru Elliott Nugent di­ $ Evelyn Keyes, has returned to rects, with Richard Mai- that studio as producer of an­ “Manhattan,” “Way Out West bauin as producer.
    [Show full text]
  • Alabama Theatre Photographs, Scrapbooks and Publications, 1929-1970 and Undated
    BIRMINGHAM PUBLIC LIBRARY Department of Archives and Manuscripts Alabama Theatre Photographs, Scrapbooks and Publications, 1929-1970 and undated Background: The Alabama Theatre opened in 1927 and was originally operated by the Paramount-Publix Corporation. The theater was added to the National Register of Historic Places in 1979. Scope and Content: This collection contains two exterior photographs of the Alabama Theatre and 85 promotional photographs for movies shown at the theater; five scrapbooks containing photographs and brief stories about movie stars clipped from magazines; and two bound copies of the movie industry newspaper Publix Opinion. A large number of photographs showing the Alabama Theatre are found in the related collections listed below and other collections. Related Collections: Birmingham News Photographs A. C. Keily Photographs Photographs General Collection Charlie Preston Photographs Subject Areas: Motion picture theaters. Motion pictures. Size: 3 linear feet (4 boxes) Source: Alabama Theatre Restrictions: Standard preservation and copyright restrictions. Guide Prepared by: Thomas C. Haslett, Jr. and Jim Baggett File Number: Description: Photographs of the Alabama Theatre 387.1.1 Front exterior view of Alabama Theatre taken from across the street, circa 1960s. 387.1.2 View of marquee from street advertising The Pit and the Pendulum, circa 1961. Promotional Photographs 387.1.3 Bud Abbott and Lou Costello in Africa Screams, 1949. 387.1.4 Fred Astaire in Irving Berlin's Blue Skies, 1946. 387.1.5 Gene Autrey in Manhattan Merry-Go-Round, undated. 387.1.6 Lucille Ball in Easy Living, 1949. 387.1.7 Dolores Costello Barrymore, in Little Lord Fauntleroy, 1936. 387.1.8 Ethel Barrymore, in The Red Danube, 1949.
    [Show full text]
  • Fly National]
    Those Quiz Shows AMUSEMENTS. AMUSEMENT*. Drama News and Reviews Hollywood Diary May Explain It Red Skelton to Ride the Range By «t» Associated Press HOLLYWOOD. ~ Makes a With Gene Autry as His Partner Movies may not be any better, FRED RED 4 Time Vivid Show but they are at least more accurate • ■ .. Graham -.. ASTAIRE SKELTON By'Sheilah than ever, reports Metro. Of 'Faith of Our Fathers' Arlene Dahl and Lex Barker are Imperium." “Then, in November, Dorothy Luke, MGM researcher, I mum mo,. planning a honeymoon In France. I do 'Strictly Dishonorable.’.. Lana says the motion picture industry m TECHNICOLOR By Jay Carmody While neither Lex nor Arlene will Turner, whose baby is expected in regards itself as an educational, as Last In the five weeks since its helter-skelter opening, “Faith of Our 4Days talk about their wedding until his three to four months, hopes to well as an entertainment, medium. 4th RECORD has settled down to be a show. The WUR Fathers” quite production has divorce is final—very soon now— finish her scenes this week. Studio research departments are smooth and the is aware become quick, performance clearly of mean- they are both arranging their Stewart Granger will be with us working harder than ever to be well have been missed and ings which might earlier, for any form working schedules to give them in Hollywood again. He brings all accurate in every detail. so broad and episodic as symphonic drama, the Paul Green work tWb months in the fashionable his belongings with him from Researchers have been on their DESIINMI1I has a satisfying unity.
    [Show full text]
  • 150-160 Johnston Fall 08.Indd
    “THREE TIMES AS THRILLING!”: The Lost History of 3-D Trailer Production, 1953–54 By Keith M. Johnston Abstract: This article uses the “lost” history of film and television trailers to reassess the 3-D aesthetic and its place in film history. By reconstructing and analyzing trailers from 1953 and 1954, which educated audiences about the competing 3-D technology, this article reveals a unique perspective on how film studios spoke to their audiences, positioned technology as a star attraction, and used 3-D as a potent weapon in Hollywood’s attempt to revise the cinema screen of the 1950s. Keywords: advertising, 1950s, 3-D, trailers he trailer for Beneath the 12 Mile Reef (1953) promotes an exciting new star from its first frames—but that star is not human. Instead of an actor, the trailer hails Twentieth T Century-Fox’s CinemaScope, the technology responsible for the new, wider screen dimensions displayed in the trailer. CinemaScope is “the Greatest Step Forward in the History of Entertainment,” the trailer proclaims, a “modern miracle,” its “amazing anamorphic lens” engulfing audiences “in the panoramic range of an underwater world.” These sentiments were echoed in Hollywood, where CinemaScope was hailed as the “Moses” that would lead the film industry “out of a film wilderness” (“CinemaScope” 1). In academia, André Bazin and Charles Barr heralded the technology as a groundbreaking aesthetic development that would hasten the end of montage editing techniques (Bazin; Barr 4). However, besides the potent demonstration of its new technological star, Beneath the 12 Mile Reef’s trailer also offers a telling dismissal of a competitive cinema technology, one that has been largely overlooked in favor of the pos- sibilities ushered in by CinemaScope and other widescreen technologies.
    [Show full text]
  • Selling the Screen
    1 "This is an Author's Accepted Manuscript of an article published in the Journal of Popular Film & Television 36, 3 (2008): 50-60 (c) Taylor & Francis Available online at: http://www.tandfonline.com/doi/abs/10.3200/JPFT.36.3.150-160 ‘Three Times as Thrilling!’ The Lost History of 3-D Trailer Production, 1953-54 Keith M. Johnston The trailer for Beneath the 12 Mile Reef (Webb, 1953) promotes an exciting new star image from its first frames – but that star is not human. Instead of an actor, the trailer hails 20th Century Fox’s CinemaScope, the technology responsible for the new wider screen dimensions displayed through the trailer text. CinemaScope is ‘the Greatest Step Forward in the History of Entertainment,’ a ‘modern miracle’, its ‘amazing anamorphic lens’ engulfing audiences ‘in the panoramic range of an underwater world.’ These trailer sentiments were echoed in Hollywood, where CinemaScope was hailed as the ‘Moses’ that would lead the film industry ‘out of a film wilderness’ (‘CinemaScope, Robe Triumph,’ 1953, 1), and in academia, with André Bazin and Charles Barr heralding the technology as a groundbreaking aesthetic development that would hasten the end of montage editing techniques. (Bazin, 1953; Barr, 1963) However, amongst the potent demonstration of its new technological star, the Beneath the 12 Mile Reef trailer also offers a telling dismissal of a competitive cinema technology, one that has been largely overlooked in favor of the wider screen aesthetic ushered in by Cinerama, CinemaScope and VistaVision. A title claims that CinemaScope is ‘The Modern Miracle You See Without Special Glasses,’ a barbed commentary on the polarized glasses audiences had to wear to view the rival 3-D film process.
    [Show full text]