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Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
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). -
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. -
The Dark Side of Hollywood
TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
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. -
THE GREAT WAR: a CINEMATIC LEGACY OPENS at Moma on the CENTENARY of the START of WORLD WAR I
THE GREAT WAR: A CINEMATIC LEGACY OPENS AT MoMA ON THE CENTENARY OF THE START OF WORLD WAR I The Great War: A Cinematic Legacy August 4—September 21, 2014 The Roy and Niuta Titus Theaters NEW YORK, July 8, 2014–Opening on the 100th anniversary of the day World War I began, The Museum of Modern Art’s The Great War: A Cinematic Legacy runs from August 4 through September 21, 2014, highlighting 60 feature-length films and thematic programs that attempt to provide a comprehensive view of the war as portrayed in film. The various films focus on prewar activities; espionage; the battlefields in the trenches, in the air, and on and beneath the sea; actualités; and the various homefronts before, during, and after the war. Familiar films, such as A Farewell to Arms (1932) and Lawrence of Arabia (1962), along with several lesser-known works from as far away as New Zealand—including Chunuk Bair (1992)—reflect the universality of a war that reshaped the prevailing values of what passed for civilization. In August, the program is predominately drawn from the early years, either during the war or in the succeeding decades, and includes several silent films. The program in September will concentrate mainly on later, more contemporary films up to, and including, Steven Spielberg’s War Horse (2011). The Great War is organized by Charles Silver, Curator, with Dave Kehr, Adjunct Curator, Department of Film, The Museum of Modern Art. Many of the films in the series deal with the entrenched stalemate in France, including Verdun, Vision d’Histoire (Verdun, Vision of History) (1928) directed by Leon Poirier. -
William Wyler Papers, 1925-1975
http://oac.cdlib.org/findaid/ark:/13030/tf5h4nb33m No online items Finding Aid for the William Wyler Papers, 1925-1975 Processed by Performing Arts Special Collections staff; machine-readable finding aid created by D.MacGill; UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 1998 The Regents of the University of California. All rights reserved. Finding Aid for the William Wyler 53 1 Papers, 1925-1975 Finding Aid for the William Wyler Papers, 1925-1975 Collection number: 53 UCLA Library, Performing Arts Special Collections Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Library, Performing Arts Special Collections staff Date Completed: Unknown Encoded by: D.MacGill © 1998 The Regents of the University of California. All rights reserved. Descriptive Summary Title: William Wyler Papers, Date (inclusive): 1925-1975 Collection number: 53 Origination: Wyler, William. Extent: 92 boxes (45.0 linear feet) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Shelf location: Held at SRLF. Please contact the Performing Arts Special Collections for paging information. -
Director George Cukor Honored Five-Week-21-Film
The Museum of Modern Art ^^ ^^ I 11%^ iwiM^^^Miii VI ivawMX^l •• f-mi % ^^^ IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart DIRECTOR GEORGE CUKOR HONORED FIVE-WEEK-21-FILM RETROSPECTIVE A Five-Week Tribute to George Cukor, including 22 films by the American director, will commence on August 27, 1970 at The Museum of Modern Art. Starting with THE ROYAL FAMILY OF BROADWAY, the 1930 movie based on the famous Barrymore clan, with Ina Claire and Fredric March, the Cukor show covers more than three decades in the director's career. In the thirties, stars such as Gary Grant were familiar fixtures in his pictures; the late forties and fifties were marked by the film-maker's frequent collaboration with screenwriters Garson Kanin and his actress wife Ruth Gordon, as well as his pictures co- starring Katharine Hepburn and Spencer Tracy. The final film of the series, THE CHAPMAN REPORT, was made in 1963. The retrospective was assembled by Gary Carey, former Assistant Curator of the Museum's Department of Film and author of a forthcoming book entitled Cukor & Co., to be pub lished this fall by the Museum. According to Carey, Cukor was most sympathetic to comic material which had "a strong undercurrent of humanity." Cukor emphasized the roles of his writing collaborators, as well as his actors, because he was primarily influenced by the theater, which he entered in Chicago in 1918. He was a stage manager when stars such as Sarah Bernhardt, Isadora Duncan, Yvette Guilbert, Alia Nazimova, and Elsie Ferguson reigned. -
Correspondence, Autographs Collected by Miss Cara Hartwell of Toronto
Cara Hartwell Collection Inventory Page 1 of 59 Cara Hartwell Collection (1914-1983) Inventory Correspondence, autographs collected by Miss Cara Hartwell of Toronto. Includes letters from many famous personalities in the arts world, actors, playwrights, authors, opera singers, dancers and film directors. Also includes photographs, many autographed, of music personalities, a series of autograph books, and a collection of autographed cards. Among the letters are letters from W. Somerset Maugham from 1935 to 1955, several mentioning his tastes in literature and commenting on some of his own books and plans for books. There is also a series of letters from dancer Ted Shawn relating interesting anecdotes about his experiences with motion pictures and with astrology. Especially informative is correspondence from other film fans describing visits to retired movie stars and giving biographical details and “what ever happened to” information on stars of the silent film era. Over the years, Miss Hartwell has made many generous gifts to the Theatre Department. Her donation of photographs and film stills formed the basis of the department’s photograph collection. The photos of actors and dancers from this most recent gift have been interfiled with this larger collection. Her gifts of books, recordings and such film fan periodicals as Photoplay have also been added to the general collection. 2 boxes; 52 envelopes + box of cards; 71 linear metres Box #1 File #1: Correspondence, A – 4 folders Allen, Viola (1869-1948), American actress (Mrs. Peter Duryea). ALS Oct. 27, 19-- New York to William Seltsam (International Record Collectors’ Club.) Thanks for his arrangements to deliver Twelfth Night recording to her friend in Toronto. -
Who Is the Centre of the Movie Universe? Using Python and Networkx to Analyse the Social Network of Movie Stars
Who is the Centre of the Movie Universe? Using Python and NetworkX to Analyse the Social Network of Movie Stars Rhyd Lewis School of Mathematics, Cardiff University, Cardiff, Wales. [email protected], http://www.rhydlewis.eu February 27, 2020 Abstract This paper provides the technical details of an article originally published in The Conversation in February 2020 [11]. The purpose is to use centrality measures to analyse the social network of movie stars and thereby identify the most “important” actors in the movie business. The analysis is presented in a step-by-step, tutorial- like fashion and makes use of the Python programming language together with the NetworkX library. It reveals that the most central actors in the network are those with lengthy acting careers, such as Christopher Lee, Nassar, Sukumari, Michael Caine, Om Puri, Jackie Chan, and Robert De Niro. We also present similar results for the movie releases of each decade. These indicate that the most central actors since the turn of the millennium include people like Angelina Jolie, Brahmanandam, Samuel L. Jackson, Nassar, and Ben Kingsley. 1 Introduction Social network analysis is a branch of data science that allows the investigation of social structures using networks and graph theory. It can help to reveal patterns in voting preferences, aid the understanding of how ideas spread, and even help to model the spread of diseases [7, 12, 14]. A social network is made up of a set of nodes (usually people) that have links, or edges between them that describe their relationships. In this article we analyse the social network formed by movie actors. -
Preservation Examples: Silents to the Dawn of Sound
PRESERVATION EXAMPLES: SILENTS TO THE DAWN OF SOUND For the first two decades of the motion picture, feature films as such did not exist. The short subject was the featured attraction in cinemas, offering patrons comedies, dramas, adventures, westerns, cartoons, documentaries, scenics, and trickfilms, all in as little as one reel or less. By the 1920s, the feature-length film of five reels and longer had assumed prominence, and the short subject was relegated as support to create a well-balanced program, a dynamic in theaters that continued well into the sound era. The UCLA Film and Television Archive strives to achieve a balance in its preservation program between feature films and short subjects. While several hundred features have been preserved by the Archive since the 1970s, more than a thousand shorts have been saved during that same period. Unfortunately, not all of the films preserved by UCLA The UCLA Film and Television Archive has preserved more are pristine. Although some have been reproduced than a thousand shorts and several hundred feature films from camera-original negatives and are things of since the 1970s including Molly O’ (1921), pictured above, beauty, others have been copied from sole-existing and featuring Mabel Normand and Jack Mulhall. prints which reflect the ravages of wear, mishandling, missing footage, or decomposition present in the surviving material. And while some can be numbered among the most entertaining films ever made, others might be included among the worst. But considering that at least 80 percent of silents – and far too many early sound films--are lost, with the ranks of the unpreserved being thinned steadily due to nitrate deterioration, it is fortunate that we have anything left at all.