It's a Conspiracy
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Ross Reports -Television Index
ROSS REPORTS -TELEVISION INDEX JANUARY 7-13, 1957 VOLUME NUMBER 2 PROGRAMS ADVERTISERS TALENT 551 Fifth Avenue New York 17 MUrray Hill 2-5910 EDITOR: Jerry Leichter PUBLISHED BY TELEVISION INDEX, INC. WEEKLY REPORT THIS WEEK -- NETWORK DEBUTS & HIGRT.TGHTS Thursday(Jan 10) POOL- 12:30-1pm EST; SPECIAL - President Eisenhower's State of the Union Message - LIVE fromWRC-TV(Wash), to the NBC net, via pool arrangements to the ABC net. § Public service. § Prod- NBC News(Wash) for the pool. § President Eisenhower's State of the Union message to Congress will be simulcast live from the Chamber of the House of Representatives. Saturday(Jan 12) ABC- 7-7:30pm EST; DEBUT - This Is Galen Drake - LIVE fromWABC-TV(NY), 18 sta- tions live and delayed. § Sponsor- Skippy Peanut Division (Peanut Butter), The Beet Foods, Inc., thru Guild, Bascom & Bonfigli,Inc(San Fran). § Pkgr- William Morris Agency(NY); Prod & Dir- Don Appel. § Storyteller Galen Drake is host of this variety show, spinning yarns, discussing timely events, occasionally interviewing guests, and also acting as m.c. for variety portions of the program which will feature singers backed by an orchestra. THIS WEEK -- REGULAR NETWORK SPECIALS NBC- Producers' Showcase (Every 4th Mon,8-9:30pmEST) Jan 7; "Call to Freedom," an NBC 'Project 20' filmed documentary of Austria's struggle for freedom thruthe years, keyed to reopening of the Vienna State Operain 1955; Pod- Henry Salomon; Writers- Salomon, Richard Hanser, Philip Reisman, Jr; Asst Prod- Donald Hyatt; Edited By- Isaac Kleinerman; FILM from WRCA-TV(NY). NBC TV Opera Theatre (6 during season, Sat orSun); Sun, Jan 13, 1:30-4pm EST; "War and Peace," American premiere of Serge Prokofiev's opera; English version by Joseph Machlis; LIVE (COLOR) from WRCA-TV(NY). -
Perkins, Anthony (1932-1992) by Tina Gianoulis
Perkins, Anthony (1932-1992) by Tina Gianoulis Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2007 glbtq, Inc. Reprinted from http://www.glbtq.com The life and career of actor Anthony Perkins seems almost like a movie script from the times in which he lived. One of the dark, vulnerable anti-heroes who gained popularity during Hollywood's "post-golden" era, Perkins began his career as a teen heartthrob and ended it unable to escape the role of villain. In his personal life, he often seemed as tortured as the troubled characters he played on film, hiding--and perhaps despising--his true nature while desperately seeking happiness and "normality." Perkins was born on April 4, 1932 in New York City, the only child of actor Osgood Perkins and Janet Esseltyn Rane. His father died when he was only five, and Perkins was reared by his strong-willed and possibly abusive mother. He followed his father into the theater, joining Actors Equity at the age of fifteen and working backstage until he got his first acting roles in summer stock productions of popular plays like Junior Miss and My Sister Eileen. He continued to hone his acting skills while attending Rollins College in Florida, performing in such classics as Harvey and The Importance of Being Earnest. Perkins was an unhappy young man, and the theater provided escape from his loneliness and depression. "There was nothing about me I wanted to be," he told Mark Goodman in a People Weekly interview. "But I felt happy being somebody else." During his late teens, Perkins went to Hollywood and landed his first film role in the 1953 George Cukor production, The Actress, in which he appeared with Spencer Tracy. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
CHICAGO JEWISH HISTORY Spring Reviews & Summer Previews
Look to the rock from which you were hewn Vol. 41, No. 2, Spring 2017 1977 40 2017 chicago jewish historical societ y CHICAGO JEWISH HISTORY Spring Reviews & Summer Previews Sunday, August 6 “Chicago’s Jewish West Side” A New Bus Tour Guided by Jacob Kaplan and Patrick Steffes Co-founders of the popular website www.forgottenchicago.com Details and Reservation Form on Page 15 • CJHS Open Meeting, Sunday, April 30 — Sunday, August 13 Professor Michael Ebner presented an illustrated talk “How Jewish is Baseball?” Report on Page 6 A Lecture by Dr. Zev Eleff • CJHS Open Meeting, Sunday, May 21 — “Gridiron Gadfly? Mary Wisniewski read from her new biography Arnold Horween and of author Nelson Algren. Report on Page 7 • Chicago Metro History Fair Awards Ceremony, Jewish Brawn in Sunday, May 21 — CJHS Board Member Joan Protestant America” Pomaranc presented our Chicago Jewish History Award to Danny Rubin. Report on Page 4 Details on Page 11 2 Chicago Jewish History Spring 2017 Look to the rock from which you were hewn CO-PRESIDENT’S CO LUMN chicago jewish historical societ y The Special Meaning of Jewish Numbers: Part Two 2017 The Power of Seven Officers & Board of In honor of the Society's 40th anniversary, in the last Directors issue of Chicago Jewish History I wrote about the Jewish Dr. Rachelle Gold significance of the number 40. We found that it Jerold Levin expresses trial, renewal, growth, completion, and Co-Presidents wisdom—all relevant to the accomplishments of the Dr. Edward H. Mazur* Society. With meaningful numbers on our minds, Treasurer Janet Iltis Board member Herbert Eiseman, who recently Secretary completed his annual SAR-EL volunteer service in Dr. -
Why Acting Matters Yale
why acting matters Yale University Press New Haven and London David Thomson Why Acting Matters “Why X Matters” Published with assistance from the foundation and the yX logo are established in memory of Henry Weldon Barnes registered trademarks of the Class of 1882, Yale College. of Yale University. Yale University Press books may be purchased in Copyright © quantity for educational, business, or promotional 2015 by David use. For information, please e-mail [email protected] Thomson. (U.S. office) or [email protected] (U.K. office). All rights reserved. Set in Times Roman and Adobe Garamond types by This book may not Integrated Publishing Solutions. be reproduced, Printed in the United States of America. in whole or in part, including Library of Congress Cataloging-in-Publication Data illustrations, in any Thomson, David, 1941–. Why acting matters / David form (beyond that Thomson. copying permitted by pages cm—(Why X matters) Sections 107 and 108 Includes bibliographical references. of the U.S. Copy- ISBN 978-0-300-19578-1 (cloth : alk. right Law and except paper) 1. Acting. I. Title. by reviewers for the PN2061.T525 2015 public press), without 792.0298—dc23 written permission 2014029867 from the publishers. A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Also by David Thomson The New Biographical Dictionary of Film (sixth edition, 2014; first edition, as A Biographical Dictionary of Film, 1975) Moments That Made the Movies (2013) The Big Screen: The Story of the Movies (2012) Try to Tell the Story: A Memoir (2009) The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (2009) “Have You Seen . -
Khorana Peepli Live FINAL
Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Silent Films of Alfred Hitchcock
The Hitchcock 9 Silent Films of Alfred Hitchcock Justin Mckinney Presented at the National Gallery of Art The Lodger (British Film Institute) and the American Film Institute Silver Theatre Alfred Hitchcock’s work in the British film industry during the silent film era has generally been overshadowed by his numerous Hollywood triumphs including Psycho (1960), Vertigo (1958), and Rebecca (1940). Part of the reason for the critical and public neglect of Hitchcock’s earliest works has been the generally poor quality of the surviving materials for these early films, ranging from Hitchcock’s directorial debut, The Pleasure Garden (1925), to his final silent film, Blackmail (1929). Due in part to the passage of over eighty years, and to the deterioration and frequent copying and duplication of prints, much of the surviving footage for these films has become damaged and offers only a dismal representation of what 1920s filmgoers would have experienced. In 2010, the British Film Institute (BFI) and the National Film Archive launched a unique restoration campaign called “Rescue the Hitchcock 9” that aimed to preserve and restore Hitchcock’s nine surviving silent films — The Pleasure Garden (1925), The Lodger (1926), Downhill (1927), Easy Virtue (1927), The Ring (1927), Champagne (1928), The Farmer’s Wife (1928), The Manxman (1929), and Blackmail (1929) — to their former glory (sadly The Mountain Eagle of 1926 remains lost). The BFI called on the general public to donate money to fund the restoration project, which, at a projected cost of £2 million, would be the largest restoration project ever conducted by the organization. Thanks to public support and a $275,000 dona- tion from Martin Scorsese’s The Film Foundation in conjunction with The Hollywood Foreign Press Association, the project was completed in 2012 to coincide with the London Olympics and Cultural Olympiad. -
A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S
Cinesthesia Volume 8 | Issue 1 Article 5 4-24-2018 Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window" Kevin S. Brennan Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Brennan, Kevin S. (2018) "Can I Have a Look?: A Formal Analysis of Hitchcock and the Art of Suspense in "Rear Window"," Cinesthesia: Vol. 8 : Iss. 1 , Article 5. Available at: https://scholarworks.gvsu.edu/cine/vol8/iss1/5 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Brennan: Can I Have a Look?: Hitchcock, Suspense, and "Rear Window" Oscar Peterson was a jazz pianist active from the mid 1940s right up to when he died in 2007. He is considered by many to be one of the greatest and most influential pianists of all time. In Clint Eastwood’s documentary Piano Blues (Eastwood, 2003), produced by Martin Scorsese, Ray Charles is quoted saying “Oscar could play like a motherfucker!” A quick look at any one of a plethora of videos on the internet of him playing will illustrate just what Ray Charles meant in his colorfully insightful commentary on Oscar Peterson’s piano playing abilities; the man’s fingers truly were legendary. An observation of these famous fingers at work clearly displays the level of control one can have over the piano. -
Bruce Greenwood, Leslie Hope, Benjamin Ayres
Directed by Jerry Ciccoritti Written by Jeff Kober Starring: Bruce Greenwood, Leslie Hope, Benjamin Ayres, Megan Follows, David Hewlett, Kris Holden-Reid, Jeff Kober, Grace Lynn Kung, Kristin Lehman, Daniel Maslany, Tony Nappo, Paula Rivera TRT: 92:26 Format: 2:39 Sound: 5.1 surround sound Rating: (pending) Country: Canada Language: English Genre: Drama Trailers: Available Website: www.IndicanPictures.com Table of Contents Synopsis ...................................................................................................................................................................... 2 Director’s Statement .................................................................................................................................................. 3 Producer’s Statement ................................................................................................................................................. 3 Artist’s Statement (Jeff Kober) ................................................................................................................................... 4 Cast Bios ...................................................................................................................................................................... 5 Bruce Greenwood (Frank) ...................................................................................................................................... 5 Leslie Hope (Melanie) ............................................................................................................................................ -
Age Search Information 2000 Issued July 2000
Age Search Information 2000 Issued July 2000 POL/00-ASI U.S. Department of Commerce Economics and Statistics Administration U.S. CENSUS BUREAU Age Search Information 2000 Issued July 2000 POL/00-ASI U.S. Department of Commerce William M. Daley, Secretary Robert L. Mallett, Deputy Secretary Economics and Statistics Administration Robert J. Shapiro, Under Secretary for Economic Affairs U.S. CENSUS BUREAU Kenneth Prewitt, Director ACKNOWLEDGEMENTS This publication was written by JoAnn Shepherd, Information Assistant. It was reviewed by Mary Lee Eldridge of the Personal Census Search Unit, National Processing Center; and Constance Potter of the National Archives and Records Administration. Kim D. Ottenstein, Cynthia G. Brooks, Crystal M. Pate, and Laurene V. Qualls of the Administrative and Customer Services Division, Walter C. Odom, Chief, provided publications and printing management, graphics design and composition, and editorial review for print and electronic media. General direction and production management were provided by Michael G. Garland, Assistant Chief, and Gary J. Lauffer, Chief, Publications Services Branch. Economics and Statistics Administration Robert J. Shapiro, Under Secretary for Economic Affairs U.S. CENSUS BUREAU Kenneth Prewitt, Director William G. Barron, Deputy Director Nancy A. Potok, Principal Associate Director and Chief Financial Officer Gerald W. Gates, Chief, Policy Office William F. Micarelli, Chief, History Staff CONTENTS Page INTRODUCTION . .1 The Federal Population Census . .1 Records Held by the U.S. Census Bureau . .1 Records at the National Archives and Elsewhere . .1 Indexes to Individual Census Records . .2 Other Finding Aids . .2 Microfilm Holdings . .2 AGE SEARCH OPERATIONS . .3 Background . .3 How Census Records Are Located .