DOCSLIB.ORG

A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pratt, Carol Isaacs, "A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952." (1976). LSU Historical Dissertations and Theses. 3043. https://digitalcommons.lsu.edu/gradschool_disstheses/3043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material 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. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR I I 77-10,395 PRATT, Carol Isaacs, 1931- A STUDY OF THE MOTION PICTURE RELIEF FUND’S SCREEN GUILD RADIO PROGRAM 1939-1952. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1976 Mass Communications Xerox University Microfilms,Ann Arbor, Michigan 48106 © 1 9 7 6 CAROL ISAACS PRATT ALL RIGHTS RESERVED A STUDY OF THE MOTION PICTURE RELIEF FUND'S SCREEN GUILD RADIO PROGRAM 1939-1952 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Carol Isaacs Pratt B .S., Black Hills State College, 1954 M, A ., University of South Dakota, 1959 D e ce m b er, 1976 DEDICATION This work is dedicated to my mother, M rs. Belle R. Isaacs, and to Dr. Jay K. Springman and Dr. Clinton W. Bradford whose understanding, assistance and encouragement made this dissertation possible. ACKNOWLEDGEMENTS The writer would like to take this opportunity to thank the many people who assisted in the completion of this study. A very special thank you, to Mr. Harry Ackerman, Mr. George Bagnall, Ms. May Hoffman, Ms. Shirley Isler, Mr. Harry Kronman, Mrs. Rosella Towne Kronman, and Mr. Tom Lewis, not only for their invaluable assistance, but for sharing their time, their memories, and most of all their friendship with the author. A thank you also to Mr. Norman Corwin, Mr. Bing Crosby, Mr. Ray Erlenborn, Mr. Max Herman, Mr. John Jacobs, Mr. Gene Kelly, Mr. Claude L. McCue, Mr. Jess Oppenheimer, Mr. Austin Peterson, Miss Rosalind Russell, Dr. Jules Stein, Mr. Cliff Thorsness, Mr. Edward Truman, Mr. Harry Von Zell and the late Mr. Taft Schreiber for their help in compiling information for this study. I would also like to express my appreciation to my advisor, Dr. Clinton W. Bradford, and the members of my committee, Dr. Billy J. Harbin, Dr. Mary Frances Hopkins, Dr. John H. Pennybacker, and Dr. Everett L. Timm for their kindness, assistance and suggestions, and to the staff of the Louisiana State University Library for their cooperation and aid in my research. CONTENTS DEDICATION............................................................................................................ ii ACKNOWLEDGEMENTS....................................................................................... iii CONTENTS................................................................................................................. iv ABSTRACT................................................................................................................. v INTRODUCTION....................................................................................................... 1 CHAPTER I. THE MOTION PICTURE AND TELEVISION RELIEF FUND AND COUNTRY HOUSE: 1918-1976 ......... ......................................... 7 II. THE GULF SCREEN GUILD THEATRE ......................................... 80 in. THE LADY ESTHER SCREEN GUILD PLAYERS ...................... 135 IV. THE CAMEL SCREEN GUILD PLAYERS.. ................... 167 V. SCREEN GUILD PLAYERS--THE SUSTAINING YEARS 188 VI. SUMMARY AND CONCLUSIONS........................................................ 203 BIBLIOGRAPHY.................. 222 APPENDIX A.. LOG OF.PROGRAMS..............................................................229 APPENDIX B. ALPHABETICAL LISTING OF THOSE DONATING .THEIR TALENTS TO THE PROGRAM..........................307 APPENDIX C. PHOTOGRAPHS OF PROGRAM PERSONNEL 325 VITA ............................... 330 ABSTRACT The need for a philanthropic organization first became evident in the Hollywood community during World War I, when many film workers either enlisted or were drafted into the armed forces. As a result of this need the Motion Picture War Service Association was founded in 1918. The conclusion of the war ended the existence of the association, but not the need for such an organization, and in 1924 the Motion Picture Relief Fund of America Incorporated was established with Joseph M. Schenck as its first president. Schenck was followed as president in order by Jesse L. Lasky, Cecil B. De Mille, Carl Laemmle, Mary Pickford, Jack L. Warner, Conrad Nagel, and Marion Davies. Expenditures of the Fund consistently exceeded the income during most of the first fourteen years. In 1938 Jules Stein of the Music Corporation of America presented an idea for raising money for the Fund to Jean Hersholt, newly elected president of that organization, and Ralph Morgan, president of the Screen Actors Guild. Stein's suggestion detailed the production of a radio program to be presented by the motion picture industry with proceeds contributed to the Fund. By that arrangement, actors pledged a minimum of one performance each year to the program. Directors donated their services, and authors and producers allowed the use of their properties gratis to the radio broadcast. The sponsor v of the program in turn paid a predetermined weekly fee to the fund. The first to purchase the Screen Guild radio program was the Gulf Oil Corporation which sponsored the Screen Guild Theatre from the opening broadcast on January 8, 1939, to April 20, 1941, on the Columbia Broadcasting System network. On October 19, 1942, the Screen Guild Players prem iered under the sponsorship of the Lady Esther Corporation. This sponsorship continued on the Columbia Broadcasting System until July 7, 1947. The R. J. Reynolds Company began sponsorship of the Screen Guild Players for Camel Cigarettes on October 6, 1947. The program was to continue under the Camel sponsorship until June 29, 1950, but was moved to the National Broadcasting Company in 1948. During the 1950-1951 broadcast season the program was carried by the American Broadcasting Company on a sustaining basis. The following year the Columbia Broadcasting System carried the show, also on a sustaining basis. During its lifetime the Screen Guild Players had six producers: Tom Lewis, Adrian Samish, Harry Ackerman, Heindrick Booraem, Bill Lawrence, and Harry Kronman. The major script writers included Charles Tazewell, Jess Oppenheimer, Sam Perrin, Bill Hampton, and Harry Kronman. The Screen Guild Players had access to stars who did not appear on other radio program s. The entire range of Hollywood talent and cinema scripts were at the disposal of the producers of the show. v i The final broadcast to be done for the benefit of the Motion Picture Relief Fund was aired on May 30, 1952. Although attempts were made to produce the program on television, the idea did not succeed. During its fourteen
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
    The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style.
    [Show full text]
  • Absolute Radio Brand Guidelines 2014.Indd
    The style guide Key features Page 2 Our brand identity is key to our future Names Colour Channel bar success. As our business grows and The name of the master brand is To the extent that visual content Our brand icons set must allow for easy becomes more diverse (for example Absolute Radio and should never be features colour other than black and navigation between the channels in the with the addition of new stations), and shortened to Absolute. white, the primary colour shall be Absolute Radio portfolio. as digital becomes a more and more • It’s important as we extend our purple. • Moving our audience around within important channel, it is important that brand to new audiences and new Absolute Radio channels is central we present the brand in a recognisable channels that people understand to our strategy. and consistent way. what we do. We’re proud to be a • The ‘portfolio’ versions of the logo radio brand but we’re a modern This page summarises the key elements have been introduced for use within radio brand, that understands radio of our identity system (and also strongly Absolute Radio branded is content, not channel. any changes, where elements have environments to make navigation evolved). easy and fun. Discovery Icon • They are secondary elements and Absolute Radio has one central icon, must not stand alone. the ‘Discovery Icon’. • Having an icon is important to help people navigate app stores (which they do with pattern recognition). • We need to use our icon consistently and persistently to make sure it becomes indelibly associated with our brand.
    [Show full text]
  • The Coast Advertiser (Established 1893)
    \ Go often to the house of thy friend; for weeds soon choke up the unused path. •oeluar Free Public I hr >. —■Scandinavian ProV&b&a.T ,Neve Jersey ’’ l The Coast Advertiser (established 1893) Fifty-Third Year, No. 16 BELMAR, NEW JERSEY, FRIDAY, AUGUST 31 1945 Single Copy Four Cents Faculty Announced 350 PERSONS ATTEND J. A. Mohn New Pres. CONCERT HERE For Belmar School The concert for the benefit of the Al- | Central of N. J. Ry. Orders bert Einstein fund for Jewish refugee Of Bell Telephone Co. Three teachers have been hired by war orphans in Soviet Russia, held in [ J. Allen Mohn has been appointed the Belmar board of education to fill the Hebrew community center last manager for the New Jersey Bell Tele­ the vacancies in the faculty of the Wednesday, attracted more than 350 phone company at Asbury Prak in Belmar grammar school according to persons. Improvements at Belmar place of Harry W. Crawford, manager an announcement made by Mrs. Ella Miss Esther Schatzow, well-known Labor Day . there since 1942 who has been trans­ At Tesday’s meeting of the Bel­ S. Ricketts, supervising principal of soprano along the shore, appeared on WITHOUT LABOR there would not the school. ferred to the staff of the company’s the program accompanied by Helen C. mar Board of Commissioners Mayor- have been a force to resist the enemy Marion S. Cleaver will teach the General Commercial Engineering as EARLY COPY! Hummed. Also appearing was Jacque an engineer. Leon T. Abbott announced that as a. in war, much less conquor him.
    [Show full text]
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
    [Show full text]
  • Pocketbook for You, in Any Print Style: Including Updated and Filtered Data, However You Want It
    Hello Since 1994, Media UK - www.mediauk.com - has contained a full media directory. We now contain media news from over 50 sources, RAJAR and playlist information, the industry's widest selection of radio jobs, and much more - and it's all free. From our directory, we're proud to be able to produce a new edition of the Radio Pocket Book. We've based this on the Radio Authority version that was available when we launched 17 years ago. We hope you find it useful. Enjoy this return of an old favourite: and set mediauk.com on your browser favourites list. James Cridland Managing Director Media UK First published in Great Britain in September 2011 Copyright © 1994-2011 Not At All Bad Ltd. All Rights Reserved. mediauk.com/terms This edition produced October 18, 2011 Set in Book Antiqua Printed on dead trees Published by Not At All Bad Ltd (t/a Media UK) Registered in England, No 6312072 Registered Office (not for correspondence): 96a Curtain Road, London EC2A 3AA 020 7100 1811 [email protected] @mediauk www.mediauk.com Foreword In 1975, when I was 13, I wrote to the IBA to ask for a copy of their latest publication grandly titled Transmitting stations: a Pocket Guide. The year before I had listened with excitement to the launch of our local commercial station, Liverpool's Radio City, and wanted to find out what other stations I might be able to pick up. In those days the Guide covered TV as well as radio, which could only manage to fill two pages – but then there were only 19 “ILR” stations.
    [Show full text]
  • Versiones Cinematográficas Del Tema Fáustico
    ARBOR Ciencia, Pensamiento y Cultura CLXXXVI 741 enero-febrero (2010) 2 5 -3 2 ISSN: 0210-1963 doi: 10.3989/arbor.2010.741n1002 VERSIONES CINEMATOGRÁFICAS FILMIC VERSIONS OF THE DEL TEMA FÁUSTICO FAUSTIAN THEME M. S. Suárez Lafuente Universidad de Oviedo ABSTRACT: This article intends to follow the development of the RESUMEN: La leyenda fáustica, en la que el personaje principal vende Faustian myth through a number of outstanding films in western su alma al diablo por conseguir lo que más anhela en ese momento, se culture ending with Faust 5.0 by Fura dels Baus. It starts with a brief ha convertido, desde su primera publicación en la imprenta de Johann analysis of the Faust inscribed in literature by Spiess in 1587 and, Spiess en 1587, en un tema recurrente en diferentes medios artísticos. progressively, implemented by several European authors up to the En la literatura en todas sus manifestaciones, en pintura, música y cine, Manns. The number of literary and filmic Fausts is so large that this diferentes Faustos soñaron con el placer, el conocimiento, la fama, el article, a work in progress, provides only a few steppingstones, those dinero o el poder, y aprendieron, de manera dramática, que la vida es considered more relevant in the history of the myth. The main cha- breve y los logros humanos efímeros. Puesto que la duda primordial racteristics of the legend are kept as the leading structure of this de qué hay después de la muerte no puede ser satisfecha, la venta del article, considering the fact that those are the moments that attract alma se convierte en una transacción fútil o trágica, según fuera la the attention of writers and directors and, therefore, suffer more mo- respuesta, que ningún Fausto llega a dilucidar.
    [Show full text]
  • In the Opening Segment, ER and Elliott Roosevelt Respond to a Listener's Question About US Relations with Communist Yugoslavia
    THE ELEANOR ROOSEVELT PROGRAM January 22nd, 1951 Description: In the opening segment, ER and Elliott Roosevelt respond to a listener's question about US relations with communist Yugoslavia. In the interview segment, ER's guest is producer and director Arch Oboler. Participants: ER, Elliott Roosevelt, Arch Oboler [ER:] What have you today? [Elliott Roosevelt:] Well, I think I have a very interesting question today which I'd like to hear you discuss. Do you think the United States should be helping countries apparently friendly to us, and yet communist? Yugoslavia, for example. Particularly when there are so many others who fought with us who need the same help? [ER:] Well um, that question and-and the evident slant is that we should not be helping Yugoslavia. I think uh, that the person who wrote it was not taking into account the situation as it faces us in Europe today. Eh you have to remember when you are deciding a policy, uh just exactly what the whole situation you face is. Now, there are many people in Europe who fought with us and many people in Europe whom we fought against, all of them need help both those who fought with us and those who fought against us. Uh we are helping those who fought against us because we feel that um it's better to have free nations in the central part of Europe. They voted not to arm Germany, eh and I, personally, think that may be a wise uh thing. And--but I think they must be free and able to stand on their own feet um otherwise they're always a prey to communist ideas.
    [Show full text]
  • Conyers Old Time Radio Presents the Scariest Episodes of OTR
    Conyers Old Time Radio Presents the Scariest Episodes of OTR Horror! Playlist runs from ~6:15pm EDT October 31st through November 4th (playing twice through) War of the Worlds should play around 8pm on October 31st!! _____________________________________________________________________________ 1. OTR Horror ‐ The Scariest Episodes Of Old Time Radio! Fear You Can Hear!! (1:00) 2. Arch Oboler's Drop Dead LP ‐ 1962 Introduction To Horror (2:01) 3. Arch Oboler's Drop Dead LP ‐ 1962 The Dark (8:33) 4. Arch Oboler's Drop Dead LP ‐ 1962 Chicken Heart (7:47) 5. Quiet Please ‐ 480809 (060) The Thing On The Fourble Board (23:34) 6. Escape ‐ 491115 (085) Three Skeleton Key starring Elliott Reid, William Conrad, and Harry Bartell (28:50) 7. Suspense ‐ 461205 (222) House In Cypress Canyon starring Robert Taylor and Cathy Lewis (30:15) 8. The Mercury Theatre On The Air ‐ 381030 (17) The War Of The Worlds starring Orson Welles (59:19) 9. Fear on Four ‐ 880103 (01) The Snowman Killing (28:41) 10. Macabre ‐ 620108 (008) The Edge of Evil (29:47) 11. Nightfall ‐ 800926 (13) The Repossession (30:49) 12. CBS Radio Mystery Theater ‐ 740502 (0085) Dracula starring Mercedes McCambridge (44:09) 13. Suspense ‐ 550607 (601) Mary Shelley's Frankenstein starring Stacy Harris and Herb Butterfield (24:27) 14. Mystery In The Air ‐ 470814 (03) The Horla starring Peter Lorre (29:49) 15. The Weird Circle ‐ 450429 (74) Dr. Jekyll And Mr. Hyde (27:20) 16. The Shadow ‐ 430926 (277) The Gibbering Things starring Bret Morrison and Marjorie Anderson (28:24) 17. Lights Out ‐ 470716 (002) Death Robbery starring Boris Karloff (29:16) 18.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Faust & Gerhart Hauptmann, Western & Revolution, Time's up Als Die Ufa
    Faust & Gerhart Hauptmann, Western & Revolution, Time's Up Als die Ufa 1926 den Großfilm FAUST herstellte, steckte der von der deutschen 2 Rückblick Militärführung 1917 gegründete Konzern bereits in ernsthaften wirtschaftli- 3 Mittel Punkt Europa chen Schwierigkeiten. Viele der Mitwirkenden wie Produzent Erich Pommer, Regisseur F.W. Murnau, Darsteller Emil Jannings und Komponist Ernö Rapée 8 Deutsche Filme 2017 waren vor der offiziellen Premiere des Films schon längst in oder auf dem Weg nach Amerika. In der Premierenkopie fehlten die von der Ufa in Auftrag gege- 13 Faust im Film benen Zwischentitel von Gerhart Hauptmann. Drehbuchautor Hans Kyser hatte eine polemische öffentliche Debatte in Gang gesetzt, dass eine Überarbeitung 22 Film und Psychoanalyse der in der Arbeitskopie verwandten Zwischentitel den »literarischen Charakter« des Films erhöhe. Die Direktoren der Ufa erschraken und fürchteten um den 24 Western & Revolution Erfolg des Prestigeprojekts. Sie baten Hauptmann vergeblich, seine Titel zu vereinfachen, da »die Mentalität des Kinopublikums (...) diejenige eines acht- 34 Cary Grant jährigen Kindes« sei. Schließlich einigte man sich darauf, die Titel der Arbeits- kopie mit einigen Modifikationen im Film zu belassen und Hauptmanns Titel 43 Architekturfilmtage nur im Programmheft zur Premiere abzudrucken. Zur Eröffnung der Filmreihe »Faust im Film«, die die Ausstellung »Du bist Faust« in der Kunsthalle der 47 Helga Reidemeister Hypo-Kulturstiftung begleitet, können Sie nun erstmals eine Neurekonstruktion des Films mit den von Gerhart Hauptmann verfassten Titeln erleben. Ebenso 48 MissRepresentation als Premiere wird Werner Fritsch seinen FAUST SONNENGESANG III vorstellen. Ab Mitte der 1960er Jahre blühte mit den Italo-Western ein neues Genre 52 Argentinien des Trivialfilms auf, das die offizielle Filmkritik kaum zur Kenntnis nahm.
    [Show full text]