DOCSLIB.ORG

Filmographie 1905–1931 (Früher Seuchenfilm / Seuchen Im Stummfilm) Kompiliert Und Eingeleitet Von Dennis Henkel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Filmographie 1905–1931 (Früher Seuchenfilm / Seuchen Im Stummfilm) Kompiliert Und Eingeleitet Von Dennis Henkel Repositorium für die Medienwissenschaft Dennis Henkel Der Seuchenfilm: Epidemien und virale Infektionen im Film Teil I: Filmographie 1905–1931 (Früher Seuchenfilm / Seuchen im Stummfilm) 2020-07-22 https://doi.org/10.25969/mediarep/14137 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Henkel, Dennis: Der Seuchenfilm: Epidemien und virale Infektionen im Film Teil I: Filmographie 1905–1931 (Früher Seuchenfilm / Seuchen im Stummfilm). Westerkappeln: DerWulff.de 2020-07-22 (Medienwissenschaft: Berichte und Papiere 193). DOI: https://doi.org/10.25969/mediarep/14137. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0193_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 193, 2020: Epidemiefilm I. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0193_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 22.07.2020. Der Seuchenfilm: Epidemien und virale Infektionen im Film Teil I: Filmographie 1905 19!1 (Fr#her Seuchenfilm / Seuchen im Stummfilm) Kompiliert und eingeleitet von Denni' Henkel Inhalt: 1. Einführung: Siechtum und Seuche im Stummfilm: Präambel zu einem Epochenüberblick [ ! . "er frühe Seuchenfilm. Eine kleine Filmographie zu Infektionskrankheiten im Stummfilm, 1'()*1'+1 [1 ! +. Quellen [)1! Medienwissenschaft: Berichte und Papiere wird herausgegeben von Hans J. Wulff und Ludger Kaczmarek in Verbindung mit Anna Drum (Dresden), Sophie G. Einwächter (Marburg), Dietmar Kammerer (Marburg), Franz Obermeier (Kiel) und Sebastian Stoppe (Leipzig). Epidemiefilm I -1'()*1'+1. // Medienwissenschaft& 1'0& ( ( /// Teil I: Filmographie Fr#her Seuchenfilm / Seuchen im Stummfilm, 1905 19!1 1* Einf#hrung: Siechtum und Seuche im Stummfilm: +räam-el zu einem Epochen#-er-lick /or0ort 1ei einem derart gro2en und heterogenen 3orpu% 4ie dem 5orliegenden 4ürde ein Epochenüber6 blick mit 7ollständigkeit%6Prämisse den 8ahmen sprengen. "aher soll dieser 1eitrag als repräsen6 tati5 5erstanden 4erden& Sch4erpunkte und 9endenzen au#deckend& um 4eitere $orschungsarbei6 ten zu erleichtern und zu ermöglichen. ;u# die Inklusion 5on 5erschollenen oder nicht :ffentlich zugänglichen $ilmen 4urde 5erzichtet [1! * der geneigte =eser kann aber mi>els der kommentier6 ten $ilmographie einen Ein%tieg zur 7ertie#ung der ?ematiken 5on Seuchen und In#ektionskrank6 heiten im %tummen @ino finden. Tod durch 1ero'ol Aahrhundertelang zählte die 9uberkulose -913. zu den häufigsten 9odesursachen& und die Spani6 sche Brippe bescherte dem Ccommon coldD eine neue "imension der 1edrohlichkeit. "ie% %ind Emstände& die unterstreichen& 4ie stark ;temwegsin#ekte die Fenschheit über Aahrtausende mal6 trätierten. "ie Sch4indsucht 4urde im Stummfilm oG porträtiert& denn ob4ohl die Erkrankungs6 rate zurückging, brachten neue 4issenschaGliche Erkenntni%se grundlegende 7eränderungen im @rankheit%6 4ie Prä5ention%5erständnis. "ieser Emstand bescherte der 913 dramaturgische 8ol6 len in gro2en @lassikern 4ie kleinen =ehrfilmchen& die an anderer Stelle genauer besprochen 4er6 den [ !. Nicht 4eniger gro2e% ;u#sehen erregte die InIuenza& die ;n#ang de% (. Aahrhundert% mit ihrer bi% dato t:dlichsten Pandemie die Fenschheit gei2elte. Jie der $ilmemacher ". J. BriKth die @a6 tastrophe in seinem #rühen $ilm The Country Doctor schon 1'(' antizipierte& 4urde eben#alls an anderer Stelle dargestellt [+!. Jir beginnen den Strei#zug im Aahr 1'1'& in dem nicht nur die bisher 4ohl #atalste InIuenza6Jelle der Fenschheitsgeschichte 4ütete& sondern auch ein kinemato6 graphischer 7ersuch& der Seuche Lerr zu 4erden& die @inosäle erhellte: In Dr. Wise on Influenza -Bro2britannien 1'1'& Aoseph 1est. [0! tri> der * 4ahrscheinlich fikti5e& jeden#alls charakterisierend benannte * Fediziner als Erzähler au#& der seine Jeisheiten zum @amp# gegen die InIuenza zum 1esten gibt. "a% =ehrstück lässt einen erkrankten Protagoni%ten alle LNgiene6$auxpa% begehen& die dem medizinisch ungebildeten Patienten zum 7erhängni% 4er6 den k:nnen: Er geht trotz eindeutiger SNmptome zur ;rbeit& 5ernachlässigt in :ffentlichen 7er6 kehrsmi>eln 4ie bei seinem Aob jegliche ;bstand%6 und LNgieneregeln& bi% er in Ccritical conditi6 onD 5erfällt und an den @omplikationen 5erstirbt. ;u% filmhistorischer Perspekti5e sehen 4ir erste mikro%kopische ;u#nahmen [)! 5on Erregern& 4erden in LNgiene gema2regelt und erfahren& 4ie ein Patient Benesung erlangte: Er gurgelte eine @aliuml:sung [P!. 1edenkt man& da%% der $ilm mi>en im 5erheerenden ;usbruch de% L1H1 SubtNpu% de% InIuenzastamms erschien& kann kaum noch 5on Prä5ention als 5ielmehr 5om 7ersuch der akuten Inter5ention die 8ede sein. Qb die% rein Epidemiefilm I -1'()*1'+1. // Medienwissenschaft& 1'0& ( ( /// + mediale ;uRlärung be4erkstelligen kann& lässt der damals 4eitestgehend unaKzierte 7erlau# der Spanischen Brippe bez4ei#eln& auch 4enn die dri>e Jelle um 1' ( 4eniger letal zuschlug. "er $ilm endet mit einem 1onmot& da%% in Seiten der 3o5id61'*@rise zu einer ;rt anachronisti6 schem "TMU65u führt: "em Suschauer 4ird nicht nur da% 9ragen einer Fa%ke an% Lerz gelegt& er 4ird sogar direkt adre%%iert und geschult: "ie theatralische 5ierte Jand 4ird durchbrochen und da% Cdo6it6NourselfD6;n#ertigen 5on Besichtsmasken 5orgeführtV Jelchen 1enefit man sich 5om 9ragen de% Fund6 und Nasenschutze% 5ersprach& für 4ie gro2 man den protekti5en Effekt hielt oder ob Selbst6 und $remdschutz die Intention 4ar& lässt diese #rühe kinematographische 1astel6 stunde leider offen. Das un-ekannte 23se "a% filmische 7iru% bz4. 1akterium 4urde 5on $ilmemachern gerne als unbekannte%& #remde% und neuartige% =ebe4esen in%zeniert& da% die BesellschaG sub5ersierte und in #renetische% 3haos stürz6 te. "ie% mag häufig 4ie ein LitchcockWscher FacBuKn zur Erzeugung der Peripetie anmuten * man denke hier an beliebige modernere Sombie6 und Endzeitfilme *& k:nnte aber auch als drama6 turgische% Fi>el zur FN%tifizierung de% $einde% oder zur Ent#remdung de% Publikums -5om ei6 gentlich ubiXuitären @eim) 5erstanden 4erden. Ein anderer Interpretationsansatz impliziert aber Yberraschendes: 8ealitätskon#ormität. "enn nicht nur die Spanische Brippe 4ar an#angs ein 5oll6 kommene% 8ätsel für die damalige Fedizin4elt [Z!& auch aktuelle Pandemien 4ie der S;8S63o56 *;u[ruch 4aren für die JissenschaGler im ;usbruchsort Juhan initial ohne klar identifizierten Erreger. Nebulö% bedrohliche Fikroorganismen als @ino6Entität k:nnen daher durchau% als Spie6 gelung menschlicher 8ealitätserfahrung ge4ertet 4erdenV "en filmischen Einstieg in% unbekannte @eimmilieu macht Lægen -"änemark 1'1\& $ritz Fa6 gnussen.& in dem ein ge4isser "r. =e>er 5ersucht& die Fenschheit 5or der Extinktion durch Fikro6 organismen zu be4ahren. Erstaunlich scheint au% medizinhistorischer Perspekti5e& da%% der "ok6 tor mi>els ;ntigentherapie die Si5ilisation re>et [\!. "och zu5or präsentiert der $ilmemacher da% ganze Panorama an Seuchen6@lischees: Fan %ieht& 4ie erste Qp#er heillose Panik in den Stra2en 5erursachen& Politiker& die hilf6 und ratlo% deba>ieren& so4ie 8affke%& die 5ersuchen& au% der @ata6 strophe Profit zu schlagen * 4omit der $ilm die Seuche nutzt& um in zeitgen:ssische @apitalismu%6 kritik einzustimmen. Enterstrichen 4ird diese "eutung durch den garstig porträtierten dänischen Beldadel, der die unhaltbare Yberzeugung hegt& Seuchen seien lediglich ein Problem der Fi>ello6 sen und 7erarmten. ;m Ende triumphiert der ;rzt * einiger Intrigen zum 9rotz * und imponiert als PrototNpu% de% omnipotenten Leilers. "och die 8egiearbeit zeigt auch die Be#ahren der modernen $orschung au#: Ein kleiner Einbruch in da% pri5ate =abor de% Fedicu% genügt& um die ;ntigen6Seren zu 5ertau6 schen und die Existenz de% ;rzte% so4ie der gesamten 1e5:lkerung zu bedrohen. @apitalismu%6 kritik& "arstellung 5on $orschungsrisiken und ^rztehuldigung * Fagnussen 5erpackt die% solide im Fantel de% Pandemiefilms und zeichnet ein "Nstopia& da%% da% Publikum bi% heute in seinen 1ann ziehen kann. Eine gänzlich andere Interpretation de% Emgangs mit In#ektionen und Seuchen #ordert der ES6 amerikanische Spielfilm The Man Beneath -ES; 1'1'& Jilliam Jorthington. ab. "er Protagonist "r. 3hindi ;shutor reist in sein Leimatland Indien& um eine unbekannte Seuche zu bekämp#en. "er Plot 4endet %ich schnell 5on der Seuchenthematik ab und e5olviert in eine Beheimbund67er6 sch4:rung, die den ;rzt und einen mitreisenden $reund bedroht. "ie 8e>ung 5or der Beheimor6 ganisation be4erkstelligt ein Scheintod6Fedikament& 4elche% den gejagten $reund als Seuchento6 ten CtarntD und da% "uo überleben lässt. "ie @rankheit 4ird hier instrumentalisiert& er4eist sich als äu2er%t nützlich und 4ird zur 8ahmenbedingung de% LappN6End%V 7erharmlost 4ird die @rankheit aber nicht& denn "r. ;shutor 4ird am Ende 5or ein ethisches "ilemma gestellt und mu%% sich -in einer langen& melodramatischen SeXuenz. z4ischen seinem Pri5atleben und seiner Pro#e%6 sion entscheiden: C7olksheil“ gehe über da% CLerzD& 5erkündet ein S4ischentitel * erneut eine ;rztfigur& 5on der er4artet 4ird& au# @osten de% Pri5atleben% gänzlich in der 8olle de% Leilers au#6
Load more

Recommended publications
  • Camera (1920-1922)
    7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America.
    [Show full text]
  • Theater Playbills and Programs Collection, 1875-1972
    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
    [Show full text]
  • TSAP 2016 Screening Schedule
    To Save and Project: The 14th MoMA International Festival of Film Preservation Screening Schedule November 2–23, 2016 The Roy and Niuta Titus Theaters Cock of the Air. 1932. USA. Directed by Tom Buckingham. Screenplay by Charles Lederer, Robert E. Sherwood. With Chester Morris, Billie Dove, Matt Moore. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. Producer Howard Hughes combined two of his principal interests—one of them was airplanes—for this amazingly raunchy comedy set in Europe during World War I, with Chester Morris as an American pilot with an international reputation as a womanizer and Billie Dove as a French actress determined to teach him a lesson. Hughes tried but failed to sneak the film past the Hays censorship office and was forced to cut nearly two reels of footage; this restoration from the Academy Film Archive includes much of the censored imagery and uses newly recorded dialogue to fill in lines removed from the surviving soundtrack. The unheralded director Tom Buckingham demonstrates a surprisingly assured hand with extreme long takes, a technique he may have learned as a writer on Tay Garnett’s Her Man. DCP. 80 min. Wednesday, November 2, 4:30 (introduced by Michael Pogorzelski, Director, and Heather Linville, Film Preservationist, Academy Film Archive) Sunday, November 6, 4:00 p.m. The Front Page. 1931. USA. Directed by Lewis Milestone. Screenplay by Ben Hecht, Charles MacArthur, based on their play. With Pat O’Brien, Adolphe Menjou, Mary Brian. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project.
    [Show full text]
  • P-26 Motion Picture Collection Repository: Seaver Center For
    P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.
    [Show full text]
  • SFSFF 2018 Program Book
    elcome to the San Francisco Silent Film Festival for five days and nights of live cinema! This is SFSFFʼs twenty-third year of sharing revered silent-era Wmasterpieces and newly revived discoveries as they were meant to be experienced—with live musical accompaniment. We’ve even added a day, so there’s more to enjoy of the silent-era’s treasures, including features from nine countries and inventive experiments from cinema’s early days and the height of the avant-garde. A nonprofit organization, SFSFF is committed to educating the public about silent-era cinema as a valuable historical and cultural record as well as an art form with enduring relevance. In a remarkably short time after the birth of moving pictures, filmmakers developed all the techniques that make cinema the powerful medium it is today— everything except for the ability to marry sound to the film print. Yet these films can be breathtakingly modern. They have influenced every subsequent generation of filmmakers and they continue to astonish and delight audiences a century after they were made. SFSFF also carries on silent cinemaʼs live music tradition, screening these films with accompaniment by the worldʼs foremost practitioners of putting live sound to the picture. Showcasing silent-era titles, often in restored or preserved prints, SFSFF has long supported film preservation through the Silent Film Festival Preservation Fund. In addition, over time, we have expanded our participation in major film restoration projects, premiering four features and some newly discovered documentary footage at this event alone. This year coincides with a milestone birthday of film scholar extraordinaire Kevin Brownlow, whom we celebrate with an onstage appearance on June 2.
    [Show full text]
  • The Silent Films of 1923 Shown at the Empress Cinema, Sutton Coldfield
    THE SILENT FILMS OF 1923 SHOWN AT THE EMPRESS CINEMA SUTTON COLDFIELD By Don McCollom Extract from the Sutton Coldfield News of January 1923: EMPRESS CINEMA & CAFÉ: CIVIC OPENING OF THE CINEMA “The opening of the Empress Cinema at Sutton Coldfield took place on Monday afternoon the 1st January 1923 in the presence of a very large gathering. The Empress cinema and Cafe is situated at the entrance to the Lower Parade, and stands on the site of the old and noted Ashby House, a relic of bygone days, and is an excellent representation of how modern construction with efficient and economical design may overcome difficulties that at first appear insurmountable, and so manipulate them to form successful features in the building. The theatre, perfect throughout, is absolutely fireproof, the quality of the brickwork, steel and reinforced concrete being so combined as to ensure this most necessary characteristic. The design throughout being in the Grecian style gives a very pleasant result. The use of white Hollington stone in its construction in conjunction with the purple brick facing on the front elevation gives a most distinguished effect, as does the wide and imposing entrance which is supported on either side with granite columns covered by a large Ornamental Canopy. “The Ornamental Canopy gives the whole building not only an attractive but a magnificent appearance. The arrangements internally are such as will give convenience and comfort to the patrons, special care being bestowed on the lines of projection to the screen so as to avoid as much as possible eye strain. As no seat is less than 24 feet from the screen a clear view is obtainable by everyone.
    [Show full text]
  • Fffa SILENT DRAMA a F
    TITE SUNDAY OREGOXIAX, PORTLAND, OCTOBER 10 1920 fffa SILENT DRAMA A f . fo for 11 tec I I r ."1 'X -- ;fr?J VVm I 1 1 t 1 f !- - 5 , 1 - y ir x' Zvmf'Arjr 'Mi S- v J--l I tit? f n mi (ms -- jr K I i4f f 4525 1 4 A 4, j 1 1 J-- , r 7 . " -- v . 4 .fy ..... f I S 3! x said: "Its success is certain: thei Washington entrance to the show make way for the pallbearers. From Us,' during reading of simplicity. In comedy Uni- production capably developed, the the ritual emotional and drama. He is a graduate of the eling Her Husband." Her role of a TODAY'S KII.M is the house gazing with wistful eyes at this point on the mounted policemen for the dead. moment he Is equally at home. versity of Virginia and started his little forelorn grand duchess in "Lit- FEATURES. story has a real plot with subtitles the ticket window hidden, seemingly, and 40 patrolmen on Columbia Sleighan, foot had their "The recessional was Hark! Hark! An excellent picturization of the dramatic career in college theatricals. tle Miss Rebellion" unquestionably Thomas that in themselves are ingenious. in the depth of a forest of trees hands full managing the crowd. For My. Soul!' popular stage success is "Civilian he went on the professional will be acclaimed one of the best of "Civilian Clothes." The picture is clean throughout hung with snow. Standing talking half an hour following the removal "The honorary pallbearers were Clothes." The story deals with an stage and soon was playing leading her successful screen career.
    [Show full text]
  • Marion Fairfax
    Marion Fairfax Also Known As: Marion Marshall, Marion Tully Marshall, Marion Josephine Neiswanger, Mrs. Tully Marshall Lived: October 24, 1875 - October 2, 1970 Worked as: company director, director, editor, editorial director, playwright, producer, screenwriter, theatre actress Worked In: United States by Tom Slater Between 1904 and 1915, Marion Fairfax wrote several successful Broadway plays before turning to screenwriting. Over the next eleven years, she achieved even greater success in her new field. In 1921, she formed her own production company that produced The Lying Truth (1922), which Fairfax wrote and directed. The most enduring film with which she was associated was The Lost World (1925), a science fiction picture about an isolated land of dinosaurs that featured tremendous special effects. A handwritten note attached to a First National Pictures legal department memo dated December 6, 1923, states: “Fairfax is always a winner—Don’t ever let her get away. Tom [unidentified] knows she is both restless and damn independent.” Three years later, however, Fairfax received her final credit for The Blonde Saint (1926) and then disappeared from filmmaking. She was married to actor Tully Marshall, who died in 1943, for forty-three years. Like many women filmmakers of the silent era, Fairfax began her career as a stage actress. By 1901, she was appearing on Broadway. Shortly thereafter, her own plays began appearing. In 1915, Fairfax turned to screenwriting at the suggestion of William deMille, brother of Cecil B. DeMille. Over the next few years, she wrote several films directed by deMille. Another frequent artistic collaborator was director-producer Marshall Nielan, with whom Fairfax shared a long friendship dating back to her earliest years on Broadway.
    [Show full text]
  • Photoplaysthis Week
    ^ | Theaters Part 3.8 Pages Photoplays This Week AT PHOTOPLAY HOUSES THIS WEEK. METROPOLITAN.Jackie Coogan. in "Trouble." Shown this after¬ \ A. noon. 9 PALACE."The.Ordeal." Shown this afternoon. RIALTO."The Trap" and Maria Samson, singer. Shewn this after¬ Theater and noon. - Photoplay COLUMBIA."The Good Provider." Shown this afternoon. CRANDALL'S."Second-Hand Rose" and "Cops." Sr » this after- noon. j LINCOLN."Find the WonAn." Shown this afternoon. Current Attractions METHOPOLITAH."Trouble". EIALTO."The Trap" and Maria "Step JJorward." Samson, Concert Arti»t. AT THE THEATERS THIS WEEK. Jackie Coogan. the Juvenile genius. Lon Chaney will be pictured in a to¬ who shared the honors with Charlie Universal production. "The Trap GARRICK."Enter, Madame." comedy. Opening performance Chaplin in "The Kid" and subsequent- one of Ihe most-talked-of film dra¬ morrow evening. ly was the star of "Peck's Bad Boy" mas of the year, at Moore's Rialto New show tomor¬ JULIA HASSOtf land "My Boy," will be seen for the Maria Samson, star of the B. F. KEITH'S.Peggy Woods; vaudeville. opens firs* time in Washington this week Jj"8 Y ' at Budapest for six years, row matinee. Cosmos Jn "Trouble," at Crandall's Metro- will be heard in concert, with Gusta- vaudeville. New show opens tomor¬ polltan Theater, beginning (his after- Hinrichs continuing aa guest-con- COSMOS."Jazz-o-Maniacs," noon. Also for the first time. "Step ductor of the orchestra. row afternoon. Forward," the latest Mack Bennett "The Trap" is a story of the Cana Ben be dian northwest. of a French- STRAND."Bits of Dance Hits," vaudeville.
    [Show full text]
  • Open Original .Pdf
    , WM. S. HART'S THE INGREDIENTS MAKING MOVIES COMPLETE CAREER OF A GOOD TITLE OUT OF NOTHING THE PROBLEMS OF CARL DREYER April 1955 TV FILM EDITING ON COLOR FILM 40c APRIL 1955 VOLUME VI FILMS ·· NUMBER 4 EDITED BY HENRY HART Cover Glenn Ford and Eleanor Parker in "Interrupted Melody" Articles WILLIAM S. HART, by George Mitchell -------------------------------- 145 MOVIE GROSSES, by Dore Schary -------------------------- -- ------------ 155 EDITING TV FILMS, by Louis Harris -------------------------- ------------ 158 COLOR AND COLOR FILMS, by Carl Th. Dreyer --------- ------ ----- 165 TITLES, by Leonard Spinrad -------------------------------------- -- -- ---------- 168 MOVIES OUT OF THIN AIR, by William K. Everson _____ _______ 171 LONDON'S ITALIAN FESTIVAL, by Christopher Brunel ___ _____ 18 1 HORS D'OEUVRES -------------------------------------------------------------------- 183 MOVIE MEMORY TEST: 10, by John Springer ______________________ 196 Film Reviews A MAN CALLED PETER, by Arthur Gratz ____________ __ _______________ 187 BLACKBOARD JUNGLE, by Richard Ginensky ___ __ ___ ______________ 188 JEAN EPSTEIN, by Henrietta Lehman ---------------------------------- 189 HIT THE DECK, by Edward Jablonski ---------- -------- ------------------ 190 MARTY, by Diana Willing ------------------------------------------------------ 191 LIST OF RECOMMENDED MOVIES --------------------------------- --------- 208 The Sound Track, by Edward Connor ------------------------- --- ---------------- 193 Recorded Filmusic, by Gerald Pratley ----------------------------------
    [Show full text]
  • Monterey in the Movies
    Monterey In The Movies Monterey In The Movies A fairly comprehensive guide to 188 motion pictures filmed in and around the Monterey Peninsula. By James B. Toy Revised August 2018 Monterey In The Movies This document is a handy, printable version of the Monterey In The Movies section of my website The Monterey Peninsula Toy Box at www.montereypeninsula.info. Please visit the website for the latest version, which will be updated from time to time as new information becomes available. Contents: Introduction.....................................................1 Movie listing by title.......................................2 Movie listing by year.......................................5 Detailed film list..............................................8 Appendix Films removed from the original list..............96 To Eternity but not From Here........................97 Technical Notes..............................................99 Monterey In The Movies Introduction Since the very earliest days of motion pictures, the Monterey Peninsula, along with much of Monterey County, has been a popular place for location shooting. More than 180 movies have been shot, at least in part, in this area. Some films may contain just a few seconds of footage, while others use the area for the entire feature. Aside from the obvious amusement factor, these films offer rare glimpses into the past of our community. The core list of films provided here was originally compiled in the 1980s by Joe Graziano of the Monterey County Herald, who wrote the Professor Toro column for many years. With help from his "Constant Readers" he was able to track down this vital information. We are most grateful for his efforts. I have added to the list movies made since that time. I have also removed four movies from the list after watching them and realizing that they were not actually filmed here.
    [Show full text]
  • Photographs., Date (Inclusive): 1925-1972 Collection Number: MSS PHOTO 172 Collector: Stark, Samuel Extent: 6.5 Linear Ft
    http://oac.cdlib.org/findaid/ark:/13030/ft4s20046c No online items Guide to the Samuel Stark Film stills : photographs, 1925-1972 Processed by Special Collections staff; machine-readable finding aid created by Michael G. Olson. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2002 The Board of Trustees of Stanford University. All rights reserved. Guide to the Samuel Stark Film MSS PHOTO 172 1 stills : photographs, 1925-1972 Guide to the Samuel Stark Film stills: photographs, 1925-1972 Collection number: MSS PHOTO 172 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ Processed by: Special Collections staff Encoded by: Michael G. Olson © 2002 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Samuel Stark Film stills : photographs., Date (inclusive): 1925-1972 Collection number: MSS PHOTO 172 Collector: Stark, Samuel Extent: 6.5 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Restrictions None. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Acquisition Information Gift of Samuel Stark, 1969. Preferred Citation Samuel Stark Film stills : photographs.. MSS PHOTO 172.
    [Show full text]