DOCSLIB.ORG

John Ford's Stagecoach Edited by Barry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Ford's Stagecoach Edited by Barry Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information Index Air Force, 52, 75n Bogart, Humphrey, 25, 91 All Quiet on the Western Front,94 Bogdanovich, Peter, 6, 15, 17, 45n Altman, Rick, 84, 86, 87, 97, 100, Bond, Ward, 57 106–7 Bordwell, David, 106 Anderson, Lindsay, 17, 75n8 Born Reckless,52 Anderson, Marian, 103, 111n34 Breen, Joseph, 66, 157n32 Anderson, Sherwood, 96 Bringing Up Baby, 52, 60 Argosy Pictures, 44 Browne, Nick, 17–18, 168, 172–3 auteurism, 13, 44, 52–3, 56, 75–6n11, Burnham, Michelle, 116–17 84–5, 105–6 Buscombe, Ed, 1, 11, 17, 18–19n4, 35, Authors League of America (ALA), 54 44n1, 78n34 , 87, 92, 162–4 authorship, 13, 18, 48–81 Cagney, James, 25, 31–2, 91 B Westerns, 2, 4, 21, 24, 28–31, 42, Canutt, Yakima, 3, 29, 49 119, 155n5. See also Westerns Canyon Passage,58 Balio, Tino, 34 Capra, Frank, 45n7, 52, 58, 68, 74n6, Bancroft, George, 181, 182 75n11, 98 Barthes, Roland, 16 Captain Blood, 24–5 Bataan, 46n19 captivity narratives, 116–17 Battle of Elderbush Gulch, The, 46n20, Carefree, 52, 60 131n15 Carradine, John, 71, 181 Baxter, John, 17 Carringer, Robert, 49, 74 Baxter, Warner, 31 Cavell, Stanley, 158, 176n1 Bazin, Andre,´ 2, 18, 22 Charge of the Light Brigade, The, 24–5, Beard, Charles, 69 33 Beau Geste (1939), 34 Cheyenne Autumn, 114, 128 Berg, Charles Ramirez, 144 Chief Big Tree, 114 Bernstein, Matthew, 157n32 Churchill, Berton, 28–9, 71, 73, Biberman, Herbert, 55 78n38, 181 Big Jim McLain,5 Cimarron, 23, 91 Big Trail, The,5,23 Citizen Kane,3,49 Binger, Ray, 180, 183 Clair, Rene,´ 52 Birth of a Nation, The, 117, 118, 123 Colbert, Claudette, 85, 96 239 © Cambridge University Press www.cambridge.org Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information 240 INDEX combat films, 43–4 Fort Apache, 14, 44, 80n53, 155–6n13, Coolidge, Calvin, 63 157n34 Cooper, Gary, 4 Foster, Stephen, 9 Cooper, Merian C., 6, 23, 24, 44, Foucault, Michel, 115, 117, 119–20, 77n32 127, 129 Cooper, James Fenimore, 116, 145–7, Four Men and a Prayer,94 148, 150, 154, 156n28 Frontier Marshal, 21, 29 Corliss, Richard, 53, 76n12 Fugitive, The,52 Cortez, Ricardo, 114, 130n1 Coyne, Michael, 78n38 Gallagher, Tag, 13, 160–2, 165–6, Crowther, Bosley, 53 167–8, 173, 176 Cukor, George, 52 gangster films, 32, 35 Curtiz, Michael, 25, 32, 52 genre, 97–8, 106 Glennon, Bert, 180, 183 Dagle, Joan, 137 Goldwyn, Sam, 24, 98 Dances with Wolves, 130n6 Gone with the Wind, 9, 46–7n33, 105, Dark Command,2 107, 149, 154n33 Darwell, Jane, 157n34 Goulding, Harry, 7 Davis, Ronald L., 8 Grand Hotel, 3, 27, 46n18, 179 Dead End,29 Grant, Barry Keith, 145 de Havilland, Olivia, 24–5 Grapes of Wrath, The, 3, 35, 43, 133, de Maupassant, Guy, 6, 27, 45 160 DeMille, Cecil B., 2, 31, 52, 117, 119, Griffith, D. W., 117, 123, 131n15 120, 122, 128 Green Berets, The,5 Destry Rides Again, 149 Gruenberg, Louis, 71 Devine, Andy, 181 Gunga Din,34 Dietrich, Marlene, 149, 167 disaster films, 3, 27 Hageman, Richard, 9, 71, 80n53 Dodge City, 2, 21, 24, 25, 29, 30–2, 34, Hale, Alan, 78n39 36–7, 42, 91 Harling, Frank, 71 Donovan’s Reef, 128 Hart, James D., 116 Dramatists Guild, 54 Hart, William S., 33, 35 Drums Along the Mohawk (novel), 83, Harte, Bret, 3, 27 96–7, 105, 108n5 Hawks, Howard, 5, 52, 60 Drums Along the Mohawk, 4, 8, 21, 34, Haycox, Ernest, 6, 14, 23, 26–7, 45n6 35, 42, 82, 83–4, 85–7, 94–101, 104 & n16, 49–50, 58, 60, 61, 74n4, 77n26, 119 Edmonds, Walter D., 83, 96–7, 105, Hell’s Angels,94 108n5 Hepburn, Katharine, 167 Emerson, Ralph Waldo, 176n1 Herrmann, Bernard, 49 Everson, William K., 32–3 Hickock, Wild Bill, 16 Eyman, Scott, 57, 76n13, 77n32 Higashi, Sumiko, 128 High Sierra,35 Fenin, George N., 32–3 Hitchcock, Alfred, 2, 45n7, 74, Fiedler, Leslie, 156n28 75–6n11, 173, 177n9 Five Came Back,3 Hitler, Adolph, 70 Flynn, Errol, 2, 24–5, 29, 31–2, 34 Holt, Jack, 28 Fonda, Henry, 35–6, 43, 44, 85, 96 Holt, Tim, 28 Ford, Dan, 7 Hombre,2 Ford, Francis, 28 horror films, 118 © Cambridge University Press www.cambridge.org Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information Index 241 How Green Was My Valley, 160 Mann, Anthony, 16, 52 Hurricane, The, 3, 6, 24, 27, 52, 60, 87, March, Frederic, 56 92–4, 98, 128 Mary of Scotland, 52, 167 Mayer, Frank, 181 Informer, The, 6, 52, 54, 85, 87, 92–4 Mazurki, Mike, 114 International Alliance of Theatrical McBride, Joseph, 4, 15, 17, 27, 37, 41 Stage Employees (IATSE), 55 McCarey, Leo, 52 Iron Horse, The, 6, 51, 119 McPherson, Colvin, 106–7 It’s a Wonderful Life,58 Meek, Donald, 181, 182 Meet John Doe,68 Jacobs, Lewis, 75n10 melodrama, 3, 158, 159–60, 176 Jefferson, Thomas, 134–5, 139 Men without Women,52 Jesse James, 21, 24, 30–2, 34–6, 42, 91 Merriam, Frank, 56 Jessel, George, 55 MGM, 24 Johnson, Noble, 114 Mineo, Sal, 114 Judge Priest, 52, 78n39, 94, 114 Mitchell, Thomas, 9, 27, 29, 71–3, 80n57, 93, 181, 182 Kapsis, Robert, 76n11 Monogram Pictures, 80n57 Kazan, Elia, 52 Montalban, Ricardo, 114 Keaton, Buster, 164 Monument Valley, 4, 7–8, 9, 11, 16, Kentucky Pride,13 25, 29, 37, 38, 91, 114–15, 135, 181 King, Henry, 32 Mourning Becomes Electra,52 King Kong (1933), 6 Movie-goer, The, 1–2 Mr. Deeds Goes to Town, 68 Lady Vanishes, The,27 Muni, Paul, 24 Lake, Stuart, 44 Munson, Ona, 149 Lang, Fritz, 16, 36, 52, 56 My Darling Clementine, 4, 44, 114, 143, Last of the Mohicans (novel), 116 144, 150 Last Hurrah, The, 114 Leatherstocking Tales, The, 145–6, 154, Native Land, 76n17 156n28 Nichols, Dudley, 6–7, 23, 25–9, 41, 44, Lehman, Ernest, 74 46n18, 48–81, 85, 157n32, 161, 165, Leipold, John, 71 179–80, 182 Let Freedom Ring,85 Now, Voyager, 158 Little Big Man, 130n6 Nugent, Frank S., 23, 31–2, 48, 74, 85, Lives of a Bengal Lancer,33 105–6, 108–9n9 Long Voyage Home, The,52 Lord, Robert, 24–5 O’Hara, Maureen, 167 Lost Horizon,27 Oklahoma Kid, The, 21, 25, 31, 35, 91 Lost Patrol, The, 6, 27–8, 46n19, 52, 94 Olson, Culbert, 56 Lovering, Otho, 181 Olympia,57 Lubitsch, Ernst, 98 omnibus films, 3, 27 Maland, Charles J., 6–7, 10, 18 Paramount Pictures, 24, 80n53 Man of Conquest, 21, 31 Parrington, V. L., 69–70, 79n49, Man Called Horse, A, 130n6 80n50 Man from Laramie, The,16 Pells, Richard, 51, 56 Man in the Saddle,58 Pennick, Jack, 79n46 Man Who Shot Liberty Valance, The,4, Percy, Walker, 1 16–17, 21, 98, 150, 160 Perez, Gilberto, 101–2, 104, 107 © Cambridge University Press www.cambridge.org Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information 242 INDEX Philadelphia Story, The, 158 Sante Fe,25 Pilgrimage,52 Sarris, Andrew, 4, 15, 17, 52–3, 75n8, Pinky, 52 76n12, 78n38 Pioneer Pictures, 23 Scarlet Street, 52 Place, Janey, 11, 13 Schatz, Thomas, 2, 3, 18 Plainsman, The,24 Schwartz, Nancy, 55 Platt, Louise, 71, 167, 181, 182 Scott, Ned, 183 Plough and the Stars, The,52 Screen Playwrights (SP), 55, 76n17 Plunkett, Walter, 49 Screen Writers Guild (SWG), 53–6, Poague, Leland, 8–9, 18 61–2, 67, 69–70, 76n17 Popular Front, 48–81 Searchers, The, 11, 17, 47n45, 106, 114, populism, 74–5n6 117–19, 128–9 Power, Tyrone, 35 Seas Beneath, 52 Production Code of America (PCA), Selznick, David O., 6, 23, 77n32, 107 66, 85 Selznick International Pictures (SIP), Psycho (1960), 2 23–4 Sergeant Rutledge, 114, 128 Raiders of the Lost Ark,3 Seven Women, 114, 128 Rancho Notorious,16 Shadow of a Doubt, 177n9 Red River,5,15 Shanghai Express,27 Renoir, Jean, 52 Sheehan, Winfield, 51 Republic Pictures, 4, 7, 29 Sherlock Jr., 164 Return of the Cisco Kid, The,31 She Wore a Yellow Ribbon, 4, 44, 80n53, Return of Frank James, The, 32, 114 35–6 Shootist, The,5 Reynolds, Walter, 181 Shuken, Leo, 71 Richards, Jeffrey, 74n6 Siegel, Don, 5 Riefenstahl, Leni, 57 Sinclair, Andrew, 124 Rio Grande,44 Sirk, Douglas, 75n11 Riskin, Robert, 52, 75n10 Slotkin, Richard, 33, 34–6, 41, 47n38, Ritt, Martin, 2 102, 118–19, 154, 155n5 RKO Pictures, 27 Smith, Henry Nash, 137, 145–6, 150 road movies, 3 Spencer, Dorothy, 30 Road to Glory, The,94 Spielberg, Steven, 3 Robin Hood,25 “Stage to Lordsburg” (story), 6, 23, Rogers, Lee, 106 25–7, 49–50, 58–61, 74n4. See also Rogers, Will, 79n47 Haycox, Ernest romantic comedy, 159–60, 176 Stand Up and Fight, 21 Roosevelt, Franklin Delano, 51, 57, Stanwyck, Barbara, 167 61–3, 70, 79n42, 80n52 Starship Troopers, 117 Rothman, William, 10, 13, 18 Steamboat Round the Bend, 52, 79n47, Rowlandson, Mary, 116 114 Rules of the Game, 160 Steinbeck, John, 43 Run of the Arrow, 130n6 Stella Dallas, 175 Stepin Fetchit, 114 Sahara, 46n19 Stern, Philip Van Doren, 58 Said, Edward, 127–8 Stowell, Peter, 10, 99 Sandburg, Carl, 96 Strand, Paul, 76n19 Sand Pebbles, The, 117 Strode, Woody, 114 Sandrich, Mark, 60 Studlar, Gaylyn, 10, 18 © Cambridge University Press www.cambridge.org Cambridge University Press 0521793319 - John Ford’s Stagecoach Edited by Barry Keith Grant Index More information Index 243 Sturges, Preston, 52 Virginia City,25 Submarine Patrol, 87, 92–4, 110n24 Virginian, The (novel), 151 Summerville, Slim, 182 Sun Shines Bright, The, 114 Wagon Master, 3, 17, 80n53, 106 Wallace, Henry A., 56 Taylor, Robert, 31 Wallis, Hal, 24, 25 Telotte, J.
Load more

Recommended publications
  • Alshire Records Discography
    Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M.
    [Show full text]
  • Drums Along the Mohawk Walter D
    8TH Grade Book Project Approved AP Book List AP Book Title Author 1984 George Orwell 20,000 Leagues Under the Sea Jules Verne Across Five Aprils Irene Hunt Adventures of Huckleberry Finn Mark Twain Alice’s Adventures in Wonderland Lewis Carroll All Quiet on the Western Front Erich Maria Remarque Animal Farm George Orwell Around the World in Eighty Days Jules Verne Beyond the Burning Time Kathryn Lasky Brave New World Aldous Huxley Bud, Not Buddy Christopher Paul Curtis Buried Onions Gary Soto Bury My Heart at Wounded Knee Dee Brown The Caine Mutiny Herman Wouk California Blue David Klass Call of the Wild Jack London Captains Courageous Rudyard Kipling Catcher in the Rye J. D. Salinger Cheyenne Autumn Mari Sandoz The Chosen Chaim Potok Cold Sassy Tree Olive Ann Burns The Color Purple Alice Walker A Connecticut Yankee in King Arthur’s Court Mark Twain The Count of Monte Cristo Alexandre Dumas Crime and Punishment Fyodor Dostoyevsky Cry, The Beloved Country Alan Paton Cyrano de Bergerac Edmond Rostand Dandelion Wine Ray Bradbury David Copperfield Charles Dickens Death Be Not Proud John Donne Death Comes for the Archbishop Willa Cather A Doll’s House Henrik Ibsen Dracula Bram Stoker Dr. Jekyll and Mr. Hyde Robert Louis Stevenson Drums Along the Mohawk Walter D. Edmonds The Education of Little Tree Asa Earl Carter Ethan Frome Edith Wharton Fahrenheit 451 Ray Bradbury A Farwell to Arms Ernest Hemingway Farwell to Manzanar James D. Houston and Jeanne Wakatsuki Houston The Fellowship of the Ring J. R. R. Tolkien Fever, 1793 Laurie Halse Anderson For Whom the Bell Tolls Ernest Hemingway The Fountainhead Ayn Rand Frankenstein Mary Shelley The Glory Field Walter Dean Myers Gone With the Wind Margaret Mitchell The Grapes of Wrath John Steinbeck Great Expectations Charles Dickens The Great Gatsby F.
    [Show full text]
  • 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
    [Show full text]
  • Malibu Schoolconimitteet
    Conimittee T Malibu School All-Malibu Newspaper SM School Board Asks Chance To Present Proposal Meeting Before County The Malibu Times Board Postponed 1 Week Vol. I—No. 39 MALIBU, CALIFORNIA, JANUARY 24, 1947 Price 5c A special meeting between Malibu's voluntary school com- mittee and the members of the U.S. POSTOFFICE Board Members Of Board of Education of Santa Council Monica will be held at the Township Board of Education building, CORNELL Nominated 19 1336 6th Street, Santa Monica, Jan. at 7:30 tonight (Friday), Jean Election To Be Held at Couchois, head of the Malibu Open Sun. committee, announced today. Meeting Next Tonight's meeting is the result The names of eleven men and of a request on the part of the one woman were selected as nomi- Santa Board to nees from a total of 40 possible present its own proposals for candidates to serve on the first establishment of school facili- hoard of directors of the Malibu ties in the Malibu. Township Council, Inc., at a spe- At a special meeting of Mali- cial open meeting last Sunday af- bu's school committee before ternoon at the Malibu justice the County Board of Supervis- court. Election of the board mem- ors last Monday morning, the bers to serve for one year will be local group agreed to post- held at another open meeting next ponement of their scheduled Sunday, Jan. 26. at 12:30 p.m., hearing this week on a request Malibu courthouse. for establishment of a new Those nominated were : county school district in Malibu Zone !—C.
    [Show full text]
  • Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
    BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing.
    [Show full text]
  • Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
    Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • 215269798.Pdf
    INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [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]
  • Kipling, Masculinity and Empire
    Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Hollywood Films and Foreign Markets in the Studio Era: a Fresh Look at the Evidence
    Centre for International Business History Discussion Paper Hollywood Films and Foreign Markets in the Studio Era: A Fresh Look at the Evidence December 2014 Peter Miskell Henley Business School, University of Reading Discussion Paper Number: IBH-2014-08 The aim of this discussion paper series is to disseminate new research of academic distinction. Papers are preliminary drafts, circulated to stimulate discussion and critical comment. Henley Business School is triple accredited and home to over 100 academic faculty who undertake research in a wide range of fields from ethics and finance to international business and marketing. www.henley.ac.uk/research/research- centres/the-centre-for-international-business- history © Miskell, December 2014 ii © Miskell, December 2014 Henley Discussion Paper Series Hollywood Films and Foreign Markets in the Studio Era: A Fresh Look at the Evidence Abstract The international appeal of Hollywood films through the twentieth century has been a subject of interest to economic and film historians alike. This paper employs some of the methods of the economic historian to evaluate key arguments within the film history literature explaining the global success of American films. Through careful analysis of both existing and newly constructed datasets, the paper examines the extent to which Hollywood’s foreign earnings were affected by: film production costs; the extent of global distribution networks, and also the international orientation of the films themselves. The paper finds that these factors influenced foreign earnings in quite distinct ways, and that their relative importance changed over time. The evidence presented here suggests a degree of interaction between the production and distribution arms of the major US film companies in their pursuit of foreign markets that would benefit from further archival-based investigation.
    [Show full text]