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Film from Both Sides of the Pacific Arw
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2012 Apr 26th, 1:00 PM - 2:15 PM Painting the Enemy in Motion: Film from both sides of the Pacific arW Avery Fischer Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Film and Media Studies Commons, and the History Commons Let us know how access to this document benefits ou.y Fischer, Avery, "Painting the Enemy in Motion: Film from both sides of the Pacific arW " (2012). Young Historians Conference. 9. https://pdxscholar.library.pdx.edu/younghistorians/2012/oralpres/9 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Painting the Enemy in Motion: Film from both sides of the Pacific War Avery Fischer Dr. Karen Hoppes HST 202: History of the United States Portland State University March 21, 2012 Painting the Enemy in Motion: Film from both sides of the Pacific War On December 7, 1941, American eyes were focused on a new enemy. With the Japanese attack on Pearl Harbor, no longer were Americans concerned only with the European front, but suddenly an attack on American soil lead to a quick chain reaction. By the next day, a declaration of war was requested by President Roosevelt for "a date that will live on in infamy- the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan .. -
John Ford Film Series at Museum of Modern Art
I THE MUSEUM OF MODERN ART No. 50 n WEST 53 STREET. NEW YORK 19. N. Y. For Immediate Release ffUFHONl: CIRCLI B-8900 JOHN FORD FILM SERIES AT MUSEUM OF MODERN ART JOHN FORD: NINE FILMS, a new auditorium series at the Museum of Modern Art, 11 West 53 Street, will begin with THE IRON HCRSE, June 7-13, daily showings at 3 pm. The 1921* silent film, an epic of the first American trans-continental railroad, features George O'Brien and Madge Bellamy, With the program changing each Sunday, the review of films by Mr, Ford, the eminent American director, will continue daily at 3 and 5:30: June lk-20, FOUR SONS (19ft), with Margaret Mann, Francis X. Bushman, Jr; June 21-27, THE INFORMER (1935), with Victor McLaglen; June 28-July h, STAGECOACH (1929), with John Wayne, Claire Trevor, John Carradine; July 5-11, YOUNG MR. LINCOLN (1939), with Henry Fonda, Alice Brady; July 12-18, LONG VOYAGE HOME (19^0), with John Wayne, Thomas Mitchell, Barry Fitzgerald; July 19-25, T"E GRAPES OF WRATH (19lO), with Henry Fonda, Jane Darwell, John Carradine; July 26-Aufust 1, MY DARLING CLEMINTINE (19^6), with Henry Fonda, Linda Darnell, Victor Mature; August 2-8, THE QUIET MAN (1952), with John Wayne, Maureen OfHara, Barry Fitzgerald. THE QUIET MAN will be shown at 3 pm only, Richard Griffith, Curator of the Film Library, says of the new Museum series: "To choose nine films by John Ford for this exhibition will seem to the great director's admirers an act of impertinence. -
Mutual Aesthetics Joseph D
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 Mutual Aesthetics Joseph D. Sherry Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Sherry, Joseph D., "Mutual Aesthetics" (2016). Honors Projects Overview. 117. https://digitalcommons.ric.edu/honors_projects/117 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MUTUAL AESTHETICS VISUAL STYLE IN THE FILMS OF F.W. MURNAU AND JOHN FORD, 1928-1941 By Joseph D. Sherry An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Film Studies Program The School of Arts and Sciences Rhode Island College 2016 Sherry 1 Introduction F.W. Murnau wrote, “All great arts have had great artists born to understand them as no other men can, and the motion picture is the single art expression of our age.”1 Murnau made this remark shortly after his masterpiece, Sunrise: A Song of Two Humans (1927), was released by Fox Film Corporation. Sunrise’s production riveted the entire studio lot due to its scope and Murnau’s international reputation; its subsequent critical success solidified Murnau’s place in Fox’s top-tier of directors. But John Ford, also one of Fox’s top-tier directors, once brusquely remarked, “It’s no use talking to me about art . -
Films Saved from Twentieth Century
Hf NO. 41 The Museum of Modern Art FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 955-6100 Cable: Modemart TOM MIX, CLARA BOW, AND OTHER EARLY STARS ON MUSEUM SCREEN "Riders of the Purple Sage" and "Just Tony," two early silent films of Tom Mix, and "Call Her Savage," starring Clara Bow, the early sex siren, will be part of a special series of "rescued" films to be shown at The Museum of Modern Art. The program, starting April 10, 1971, consists of Twentieth Century-Fox films preserved by the Museum, which have not been seen here since their original release. "Riders of the Purple Sage," a 1925 Zane Grey romance, was made by Fox four times between 1914 and 1941. Of the Tom Mix version Eileen Bowser, Associate Curator in charge of the Museum's Film Archive, points out "the camera is permitted to get closer than usual to the actor: he avoided close-ups as a rule, not only to show off to the full his splendid riding and roping skills, but also because he made little pretense of being a dramatic actor." Mix, according to Mrs. Bowser, outranked all other cowboy stars in popularity. He made his debut on film in 1919, but prior to that time he had been a star of touring Wild West shows, and he was billed as "Tom Mix Ex-U. S. Marshall, Expert Roper and Bronco Buster." The second picture starring Mix, "Just Tony," is of 1922 vintage. Named after the celebrated horse Mix rode,which plays an important role in the story, it was made on location in Nevada in the Valley of the Eagles. -
Parents Say Dallas Suspect Changed After His Service
Parents say Dallas suspect changed after his service Family says military life MORE ON RECENT caused man to be a hermit VIOLENCE BY NOMAAN MERCHANT Texas mom who was shot protecting The Associated Press her son says she would march again TUESDAY, JULY 12, 2016 75 CENTS A5 SERVING SOUTH CAROLINA SINCE OCTOBER 15, 1894 DALLAS — Military service Open-carry law poses challenge to law A5 changed the Dallas gunman from enforcement 2 SECTIONS, 18 PAGES | VOL. 121, NO. 225 an extrovert into a hermit, his par- ents said in an interview excerpt published Monday. THE ASSOCIATED PRESS lawyer who represented him, John- Micah Johnson’s mother, Del- Dallas Police Officer Rebecca Tristan, son was accused of sexually ha- OPINION phine Johnson, told TheBlaze web- left, is comforted by a supporter on rassing a female soldier while de- site in an interview that her son Sunday outside Dallas Police head- ployed. wanted to be a police officer as a quarters. His father, James Johnson, said child. His six years in the Army haltingly and through tears, “I Don’t forget that Reserve, including a tour in Af- thought the military represented, don’t know what to say to anybody ghanistan, were “not what Micah it just didn’t live up to his expecta- police officers’ thought it would be ... what he tions.” According to the military SEE SUSPECT, PAGE A7 lives matter, too A8 A morning in art camp TELEVISION State’s drought status worsens Corn harvest coming; Sumter now ‘incipient’ BY JIM HILLEY [email protected] 200 years Areas in the Upstate are suffering from dry condi- tions and hot weather, lead- of history ing the South Carolina Drought Committee to up- From renovations to logistics grade four northwestern counties to “moderate and more, learn about the drought.” The committee A9 also upgraded much of the executive mansion state, including Clarendon and Sumter counties, to “in- cipient drought.” Counties in the northeast- ern part of the state includ- ing the Pee Dee and Ker- shaw and Lee counties re- Fingerprinting main listed as “normal” by the commission. -
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular. -
December 31, 2005 N
Hawaii Newspaper Obituaries January 1 - December 31, 2005 N Lucille "Lucy" Stephanie Souza Nacionales, 56, of Keaau died March 16 at Hilo Medical Center. Born in Hakalau, she was a waitress at The Fairmont Orchid Hawaii at the Mauna Lani Resort and member of the Trinity Church. Friends may call 6-9 p.m. Wednesday at Borthwick Hawaii Funeral Home Chapel; funeral service at 7 p.m. Friends may also call noon to 9 p.m. Thursday at her home for a celebration of life (Hawaiian Paradise Park, turn right off Kaloli Drive onto 22nd Avenue, sixth house on the left). Survived by husband, Alfred Nacionales Sr. of Keaau; sons, Anthony Pruett of Keaau, George (Traci) Gutierrez Jr. of Honolulu, Nelson Gutierrez of Florida; daughters, Tania Adams of Denver, Tara Pruett of Kailua, Oahu; sister, Loretta Pigeon-Souza of Keaau; brother, John (Laura) Souza Jr. of Kohala; nine stepchildren, five grandchildren, numerous nieces and nephews. Arrangements by Borthwick Hawaii Funeral Home. [HTH Mar. 22, 2005] Ernestwyne Loke Nacua, 68, of Wailuku, died Feb. 11, 2005, at Hale Makua Kahului. Visitation will begin at 9 a.m. Friday at St. Ann’s Church, with a service at 11 a.m. Burial will be at 12:30 p.m. at Maui Memorial Park. The family requests aloha attire. Ballard Family Mortuary is assisting with the arrangements. Mrs. Nacua was born June 13, 1936, in Lahaina. She was a cook with the Maui Country Club. She is survived by four sons, Jamie (Brenda) Nacua, Keone (Julie) Nacua, Adrian (Heidi) Minobe-Nacua and Moses (Tina) Nacua; three daughters, Ellen (Tony) Reyes, Amandarose Borrero and Charlene (Ben) Hokoana; a sister, Hannah Richardson; two brothers, Joseph Padua and Andrew Padua; and 2 grandchildren and one great-grandchild. -
Life Is Better With
MICHIGAN POLICE CHIEFSOFFICIAL PUBLICATION OF THE MICHIGAN ASSOCIATION OF CHIEFS OF POLICE SUMMER 2021 LIFE IS BETTER WITH BLUE ALMA PD RECRUITS THERAPY DOG MMRMA & MACP: Partners in Excellence Providing comprehensive liability & property coverage and superior risk management services to Michigan public entities since 1980 www.mmrma.org • 800-243-1324 CONTENTSMICHIGAN POLICE CHIEFS SUMMER 2021.ISSUE 2 FEATURES 10 What is LERMA? 12 Life is Better with Blue 16 First Net: Providing Mobility and Flexibility for Michigan Law Enforcement 20 Spotlight Partner: Saima Mohsin 24 Organizational Transformation in 32 Policing 28 State Association of Chiefs of Police 32 Track-Kit: Michigan’s Sexual Assault Kit Tracking System Helps Law Enforcement 35 Winter Professional Development Conference Wrap-Up DEPARTMENTS 04 President’s Message 16 06 Director’s Message 08 Accreditation News 38 Member News 12 44 Supporting Members 46 Advertiser Index 35 PRESIDENT’SMESSAGE The summer months are fast approaching and with each passing day we get closer and closer to some sense of normalcy. The Michigan Association of Chiefs of Police has been busy navigating multiple issues over the past several months to help ensure our officers, our departments, and our profession remains safe and strong. This past February, we were able to safely hold our Winter Professional Development Conference. It may have looked a little different with safety measures and attendance limitations in place but the opportunity to have face-to-face presentations and the ability to meet with fellow professionals was not only appreciated but needed. As I write this, preparation for our Summer Professional Development Conference is underway. -
The John Ford Collection
The John Ford Collection The John Ford collection of manuscripts at the Lilly Library offers a view of Ford's entire motion picture career, from the silent era to his last movie in 1966. The material in this collection was acquired from Ford's children and grandson after his death . It was used extensively, but not exhaustively, by Ford's grandson Dan Ford in writing his biography Pappy: The Life of John Ford and includes much of the research material accumulated by Dan Ford for his book. The collection covers the years from 1906 to 1976 and contains approximately seven thousand items, of which twenty-five hundred are correspondence. John Ford was born Sean Aloysius Feeney in Portland, Maine, in 1895. He changed his name after joining his older brother Fran cis, who had taken the name of Ford, in Hollywood in 1913. He began his career as a prop man, stunt man, and actor, moving to directing in 1917 with a two-reeler entitled The Tornado. He spent the rest of his life directing films, through the transition from silents to sound, making over 130 in all and winning six Academy Awards. From 1917 until 1930 Ford directed at least 66 films, a great many of which were westerns starring the cowboy actor Harry Carey. Early in his career Ford was most often associated with Universal Studio but by the early twenties he was under contract to the Fox Film Corporation (later the Twentieth Century-Fox Film Corporation) until after World War II. It was at Fox that he had his first major success, with The Iron Horse in 1924. -
John Ford Films at Museum
The Museum of Modern Art *>• ** FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart EARLY JOHN FORD FILMS AT MUSEUM Twenty-four early films by one of America's greatest directors, John Ford, will be shown from August 21 through September 28 at The Museum of Modern Art. Dating from 1917 to 1937, the pictures, some of which have not been seen publicly since their original release, have been selected from the Museum's film archive by Adrienne Mancia, Associate Curator, and Larry Kardish, Assistant Curator, Department of Film. John Ford directed more than 130 feature films between 1917 and 1966. He won four Academy Awards for best direction and was honored four times by the New York Film Critics. His credits include "The Iron Horse," "The Lost Patrol," "The Informer," "Stagecoach," "The Grapes of Wrath," "The Long Voyage Home," "My Darling Clementine," "How Green Was My Valley," "Rio Grande," "Mogambo," "Mister Roberts," and "The Man Who Shot Liberty Valence." Among the actors and actresses in "John Ford's Stock Company" were Maureen O'Hara, Henry Fonda, Jane Darwell, Ward Bond, George O'Brien, Anna Lee, Mae Marsh, and a young stunt man named Michael Morrison whom Ford later renamed John Wayne. The Museum's program focuses on Ford's early films, particularly those made for William Fox, which the Museum has preserved by arrangement with 20th Century- Fox. These include his first feature, "Straight Shooting" (1917) and his first Fox picture, "Just Pals" (1920), both films signed "Jack Ford." Also to be shown are "Cameo Kirby" (1923), the first film signed "John Ford"; "Four Sons" (1928), a story of mother love told against the background of World War I; "Up the River" (1930), with Humphrey Bogart and Spencer Tracy at the beginning of their careers. -
How Doris Miller Changed the Movies
How Doris Miller Changed the Movies On March 4, 2010, In Robert Darden, By admin The Untold Story of Waco’s “Distinguished Sailor” and Hollywood by Robert Darden The world was not a pretty place on December 7, 1941. Hitler’s armies had already wrested control of most of Europe. Only Great Britain and the Soviet Union stood in the way. Inside Nazi-controlled territory, the wholesale slaughter of Jews, Poles, gypsies and other “undesirables” had already begun. Things were not much better in Africa. While Italian troops had finally defeated the brave Ethiopians, Gen. Erwin Rommel was making plans to have his Afrika Korps aid the bumbling Mussolini. German U-boats all but controlled the North Atlantic, further isolating Britain. In Asia, Japanese armies swept over most of northern China and were marching south. And in America, African-Americans, a tenth of the population, faced the worst ravages of the Jim Crow laws that made them second class citizens in the North and virtual slaves in the South. Virulent discrimination meant that there were precious few black doctors or lawyers or congressmen in the United States, particularly in the South. Even the films were lily-white — the few blacks in the movies played either menial roles (cooks, maids or waiters) or shiftless, dangerous criminals. In the military, black soldiers and sailors held the worst jobs and received the lowest pay. They faced daily prejudice and outright violence with little legal recourse. Of the Navy’s 170,000 sailors in December 1941, only 5,026 were black. And all of them were stewards or messmen. -
The Ford, J. Mss., 1906-1976, Consist of the Correspondence, Papers, and Memorabilia of Motion Picture Director John Ford, 1895-1973
The Ford, J. mss., 1906-1976, consist of the correspondence, papers, and memorabilia of motion picture director John Ford, 1895-1973. Ford was christened Sean Aloysius Feeney but changed his name after joining his older brother Francis, who had taken the name Ford, in Hollywood in 1913. John Ford began his motion picture career as an actor, stunt man, and prop man. In 1917 he became a director on the film The Tornado and directed over 130 films during his lifetime. Ford married Mary McBryde Smith in 1920 and they had two children: Patrick Roper born in 1921 and Barbara Nugent born in 1922. Ford's first great success, The Iron Horse in 1924, came after directing about fifty other films, chiefly Westerns. From 1927 to 1939 Ford directed more than thirty films, only one of which was a Western. He won his first Academy Award during this period for The Informer (1935), a film about the 1922 Irish rebellion. His next Academy Awards were for The Grapes of Wrath (1940) and How Green Was My Valley (1941). Two documentaries that he directed during World War II, The Battle of Midway and December 7th, also received Oscars. His last Academy Award was for another of his Irish films The Quiet Man (1952). An enthusiastic member of the Naval Reserve, Ford formed the Naval Field Photographic Reserve in early 1940. This unit was assigned to the Office of Strategic Services and Ford was ordered to report to Washington on September 11, 1941, just after completing How Green Was My Valley. He spent the war years doing documentary work in the Pacific, North Africa, Europe and India.