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Newsletter 34
Hong Kong Film Archive Quarterly 34 Newsletter 11.2005 Chor Yuen: A Lifetime in the Film Studio Three Glimpses of Takarada Akira Mirage Yellow Willow in the Frost 17 Editorial@ChatRoom English edition of Monographs of HK Film Veterans (3): Chor Yuen is to be released in April 2006. www.filmarchive.gov.hk Hong Kong Film Archive Head Angela Tong Section Heads Venue Mgt Rebecca Lam Takarada Akira danced his way in October. In November, Anna May Wong and Jean Cocteau make their entrance. IT Systems Lawrence Hui And comes January, films ranging from Cheung Wood-yau to Stephen Chow will be revisited in a retrospective on Acquisition Mable Ho Chor Yuen. Conservation Edward Tse Reviewing Chor Yuen’s films in recent months, certain scenes struck me as being uncannily familiar. I realised I Resource Centre Chau Yu-ching must have seen the film as a child though I couldn’t have known then that the director was Chor Yuen. But Research Wong Ain-ling coming to think of it, he did leave his mark on silver screen and TV alike for half a century. Tracing his work brings Editorial Kwok Ching-ling Programming Sam Ho to light how Cantonese and Mandarin cinema evolved into Hong Kong cinema. Today, in the light of the Chinese Winnie Fu film market and the need for Hong Kong cinema to reorient itself, his story about flowers sprouting from the borrowed seeds of Cantonese opera takes on special meaning. Newsletter I saw Anna May Wong for the first time during the test screening. The young artist was heart-rendering. -
For R. Hammer & D. Kellner, Eds., in Press/2008, Critical Cultural Studies
For R. Hammer & D. Kellner, Eds., in press/2008, Critical Cultural Studies Reader. New York: Peter Lang. ANOTHER ETHNIC AUTOBIOGRAPHY? CHILDHOOD AND THE CULTURAL ECONOMY OF LOOKING Allan Luke Queensland University of Technology Australia Dramatis personae This piece was originally written for the International Conference on Knowledge and Discourse, and presented at the Run Run Shaw Theatre, Hong Kong, in 1996. A companion article on Asian masculinities was published in conference papers (Luke, 2002). My original talk included videoclips of my Uncle, Keye Luke, in Star Trek, “Whom Gods Destroy” (Series 3, episode 13, 1969) and with clips of my Father, Edwin Luke, in Blood Alley (Dir. William Wellman, Batjak Productions, 1956). The work sat unpublished until my mother, Ahlin Wong Luke, passed in 2007. My Father and Uncle’s representations continue to circulate in the transnational semiotic ether – as downloads, as DVDs, and in Wikipedia. I am rereading my Father’s film scripts, reconnoitring his experiences and, indeed, mine. As you read, you will notice that my discussion of ethnic narratives has been overtaken by subsequent work in film, cultural and Asian-American studies. I have retained the original 1990s citations in this work, updating them only where relevant. The premise of the article stands: that in contemporary capitalist societies like those of North America and Europe, essentialist bids to reclaim originary ethnic voice and identity are invariably forged in the contexts of multimediated childhood. Identity and practice are shaped by media representations of ‘cultures’, even where they are reproduced across generations by face-to-face and everyday exchanges between parents, community elders and youth. -
THE CHARLIE CHAN FAMILY HOME 2018 NEWSLETTER ISSUE No
THE CHARLIE CHAN FAMILY HOME 2018 NEWSLETTER ISSUE No. 1 (inaugural) www.charliechan.info 2018 THE YEAR IN SUMMARY By Lou Armagno IN THIS ISSUE: Greetings fellow “Fans of Fiction of the 1920s. Outside of Page 1: 2018, The Year Chan,” and welcome to our these literary additions, from in Summary (Lou very first newsletter. With it, we January to February, Charlie Armagno). will try to highlight significant Chan Message board member Page 2: Our Chan Family events and happenings at Len Freeman taught a six- Chat Room (Rush Glick). year’s end, then mix in some session class Charlie Chan and Page 5: Warren, Ohio interesting items surrounding Friends at University of Library Celebrates, one of America’s first and most Minnesota’s Osher Livelong Author Earl Derr Biggers unique detectives: Charlie Learning Institute (OLLI) for Chan of the Honolulu Police. continuing education. Then In (Lou Armagno). 2018 was a March, in Page 7: How Charlie busy year for “AS A PROMOTION, BOBBS- Biggers’ Chan Came to be (Len our illustrious MERRILL HAD CELLULOID hometown Freeman). detective. PARROTS MANUFACTURED AND the Page 9: The Charlie Three new Warren- GIVEN OUT TO BOOKSTORES. IN Chan Effect (Virginia books were Trumble APRIL 1927 BIGGERS WROTE TO Johnson). issues, Charlie County Page 11: The Charlie Chan’s CHAMBERS TO SAY HE WAS library, in Chan DVD “Featurettes” Poppa: Earl DELIGHTED WITH THE SALE OF Warren, and where to find them Derr Biggers THE CHINESE PARROT…” Ohio, held (Steve Fredrick & Lou (February) by (Charlie Chan’s Poppa: Earl a month- Barbara Derr Biggers, Barbara Gregorich) long series Armagno Gregorich; to include: Page 15: 2017 Left Coast next came The Charlie Chan readings, lectures, and events Crime Convention’s Films (April) by James L. -
Actor, Artist
Name in English: Keye Luke Name in Chinese: 陆 陆 麟 [ 陸錫麟] Name in Pinyin: Lù Xīlín Gender: Male Birth Year: 1904-1991 Birth Place: Guangzhou, China Profession (s): Actor, Artist Education: Graduate, Franklin High School - Seattle, Washington, 1922 Awards: 1990, Star (Motion Pictures) - Hollywood Walk of Fame, Hollywood Chamber of Commerce; 1986, Lifetime Achievement Award, Association of Asian/Pacific American Artists Contribution (s): Keye Luke represented Asian America to film audiences from the 1930s until his death in 1991. He appeared in over 100 films and in numerous TV shows for many different major studios. He also contributed his voice to radio shows and in animation and acted as a technical advisor on Hollywood films with Chinese themes. At a time when most Asian Americans were cast solely in stereotypical subservient roles, Keye Luke often stood out for playing dignified characters while speaking perfect unaccented English. He couldn't escape the times he lived in though. If you didn't play the parts that the studio system assigned then you simply didn't get to work in Hollywood. He was forced to play his share of stereotypes, but as quoted in the Internet Movie Database said, "I have played so many doctors and characters in the mainstream. Because of my appearance, or because of my personality, or whatever it may be, I was always put into good Boy Scout roles -- lawyers, doctors, business executives and tycoons, the nice Chinese guy down the block." He was born in Guangzhou, China but grew up in Seattle, Washington. The family of Wing Luke, who grew up to become Washington State's first Asian American elected official, was related to Keye Luke. -
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A Look at Rodgers and Hammerstein's Asian Musicals and Racial
THE SOUND OF PREJUDICE: A LOOK AT RODGERS AND HAMMERSTEIN' S ASIAN MUSICALS AND RACIAL STEREOTYPES by Loretta M. Pippin A thesis submitted in partial fulfilhnent of the requirements of the University Honors Program St. Petersburg Campus University of South Florida December, 2000 Thesis Director: Raymond 0. Arsenault, Ph.D. University Honors Program University of South Florida St. Petersburg, Florida CERTIFICATE OF APPROVAL Honors Thesis This is to certify that the Honors Thesis of Loretta M. Pippin Has been approved by the Examining Committee on December 14, 2000 as satisfactory for the thesis requirement for the University Honors Program Examining Committee: Member: Gerald A Notaro, M.L.S. Member: Lisa S. Starks, Ph.D. - . '----.. Dedicated to Lee Pippin This is for my loving husband Lee. He had faith in my abilities and never doubted my capabilities when I was unsure of them myself. This project would not have been possible without his love, support, and encouragement. Lee was always by my side. He kept me going when I was down and ready to quit. My husband made tremendous personal sacrifices to help me complete my thesis. I thank him with all my heart for never losing faith in my work and me. - TABLE OF CONTENTS PREFACE ............ .... .... ... .. .................................. .. ............... ...... .. ......... .......... ..... .. ....... i ACKNOWLEDGMENTS ........ ..... ............ ........................ ... ................... .......... ............ .iii INTRODUCTION ................ .... .. ........................................... -
Asian American Romantic Comedies and Sociopolitical Influences
FROM PRINT TO SCREEN: ASIAN AMERICAN ROMANTIC COMEDIES AND SOCIOPOLITICAL INFLUENCES Karena S. Yu TC 660H Plan II Honors Program The University of Texas at Austin May 2019 ______________________________ Madhavi Mallapragada, Ph.D. Department of Radio-Television-Film Supervising Professor ______________________________ Chiu-Mi Lai, Ph.D. Department of Asian Studies Second Reader Abstract Author: Karena S. Yu Title: From Print to Screen: Asian American Romantic Comedies and Sociopolitical Influences Supervisor: Madhavi Mallapragada, Ph.D. In this thesis, I examine how sociopolitical contexts and production cultures have affected how original Asian American narrative texts have been adapted into mainstream romantic comedies. I begin by defining several terms used throughout my thesis: race, ethnicity, Asian American, and humor/comedy. Then, I give a history of Asian American media portrayals, as these earlier images have profoundly affected the ways in which Asian Americans are seen in media today. Finally, I compare the adaptation of humor in two case studies, Flower Drum Song (1961) which was created by Rodgers and Hammerstein, and Crazy Rich Asians (2018) which was directed by Jon M. Chu. From this analysis, I argue that both seek to undercut the perpetual foreigner myth, but the difference in sociocultural incentives and control of production have resulted in more nuanced portrayals of some Asian Americans in the latter case. However, its tendency to push towards the mainstream has limited its ability to challenge stereotyped representations, and it continues to privilege an Americentric perspective. 2 Acknowledgements I owe this thesis to the support and love of many people. To Dr. Mallapragada, thank you for helping me shape my topic through both your class and our meetings. -
AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Negotiating Images of the Chinese: Representations of Contemporary Chinese and Chinese Americans on US Television
Negotiating Images of the Chinese: Representations of Contemporary Chinese and Chinese Americans on US Television A Thesis Submitted to School of Geography, Politics, and Sociology For the Degree of Doctor of Philosophy Cheng Qian September, 2019 !i Negotiating Images of the Chinese: Representations of Contemporary Chinese and Chinese Americans on US Television ABSTRACT China's rise has led to increased interest in the representation of Chinese culture and identity, espe- cially in Western popular culture. While Chinese and Chinese American characters are increasingly found in television and films, the literature on their media representation, especially in television dramas is limited. Most studies tend to focus on audience reception with little concentration on a show's substantive content or style. This thesis helps to fill the gap by exploring how Chinese and Chinese American characters are portrayed and how these portrayals effect audiences' attitude from both an in-group and out-group perspective. The thesis focuses on four popular US based television dramas aired between 2010 to 2018. Drawing on stereotype and stereotyping theories, applying visual analysis and critical discourse analysis, this thesis explores the main stereotypes of the Chinese, dhow they are presented, and their impact. I focus on the themes of enemies, model minor- ity, female representations, and the accepted others. Based on the idea that the media can both con- struct and reflect the beliefs and ideologies of a society I ask how representational practice and dis- cursive formations signify difference and 'otherness' in relation to Chinese and Chinese Americans. I argue that while there has been progress in the representation of Chinese and Chinese Americans, they are still underrepresented on the screen. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Charlie Chan Films, 1929 to 1949, Ranked from Highest to Lowest “Quality”
Charlie Chan films, 1929 to 1949, Ranked from Highest to Lowest “Quality” Title Year Director(s) Actor Studio SCORE Charlie Chan at the Opera 1937 H. Bruce Humberstone Warner Oland Fox 1.56 Charlie Chan in London 1934 Eugene Forde Warner Oland Fox 1.52 Charlie Chan in Egypt 1935 Louis King Warner Oland Fox 1.25 Charlie Chan at Treasure Island 1939 Norman Foster Sidney Toler Fox 1.23 Castle in the Desert 1942 Harry Lachman Sidney Toler Fox 1.15 Charlie Chan in Reno 1939 Norman Foster Sidney Toler Fox 0.89 Charlie Chan at the Wax Museum 1940 Lynn Shores Sidney Toler Fox 0.87 Charlie Chan in Shanghai 1935 James Tinling Warner Oland Fox 0.84 Charlie Chan in Honolulu 1939 H. Bruce Humberstone Sidney Toler Fox 0.81 Charlie Chan in Panama 1940 Norman Foster Sidney Toler Fox 0.79 Charlie Chan on Broadway 1937 Eugene Forde Warner Oland Fox 0.76 Charlie Chan in Rio 1941 Harry Lachman Sidney Toler Fox 0.74 Charlie Chan in Paris 1935 Lewis Seiler , Hamilton Warner Oland Fox 0.73 MacFadden The Black Camel 1931 Hamilton MacFadden Warner Oland Fox 0.70 Charlie Chan at the Race Track 1936 H. Bruce Humberstone Warner Oland Fox 0.54 Charlie Chan at the Circus 1936 Harry Lachman Warner Oland Fox 0.49 Charlie Chan at the Olympics 1937 H. Bruce Humberstone Warner Oland Fox 0.47 Murder Over New York 1940 Harry Lachman Sidney Toler Fox 0.46 Dead Men Tell 1941 Harry Lachman Sidney Toler Fox 0.41 Charlie Chan's Secret 1936 Gordon Wiles Warner Oland Fox 0.39 Charlie Chan's Murder Cruise 1940 Eugene Forde Sidney Toler Fox 0.23 Charlie Chan in Monte Carlo 1938 Eugene Forde Warner Oland Fox 0.09 City in Darkness 1939 Herbert I.