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Woody Allen: O Teatro Em Seus Filmes, O Cinema Em Suas Peças
0 Myriam Pessoa Nogueira Woody Allen: O teatro em seus filmes, O cinema em suas peças. Universidade Federal de Minas Gerais Escola de Belas Artes Agosto de 2014 1 Myriam Pessoa Nogueira Woody Allen: O teatro em seus filmes, O cinema em suas peças. Tese de doutoramento no Programa de Pós- Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutora em Artes. Área de Concentração: Arte e Tecnologia da Imagem (Cinema) Orientador: Prof. Dr. Luiz Nazario Belo Horizonte Escola de Belas Artes/UFMG 2014 2 Dedico a minha mãe, Stela Matutina Pessoa Reis, que projetava filmes na parede de uma igreja de uma cidade pequena do interior de Minas, como em Cinema Paradiso. 3 AGRADECIMENTOS Ao meu orientador, Dr. Luiz Roberto Nazario, por ter me aceito neste programa de pós-graduação, sua paciência e disponibilidade. À minha mãe, que teve de aguentar uma doutoranda pedindo silêncio para escrever, discutindo com o computador que pifava, com a impressora que não funcionava...e revendo comigo todos os filmes de Woody Allen e de outros diretores. À Capes, pela bolsa no Brasil e no exterior (PDSE). A todos os professores da EBA e da UFMG que me acompanharam até aqui. À Sra. Zina Pawlowski de Souza, sempre prestativa, disponível e paciente com os orientandos e alunos em geral. A meu tutor na Wayne State University, Detroit, Michigan, Estados Unidos, Dr. Steven Shaviro, e todo o pessoal de lá, e a Bill Winkler e sua família, pela hospedagem. À Universidade de Princeton, ao Paley Media Center, à Library of Congress, pela porta aberta à pesquisa. -
Missions and Film Jamie S
Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre. -
Rudolph Valentino Living at 50 West in 1923
100 years at 50 west Rudolph Valentino Living at 50 West in 1923 Brooklyn Standard Union, May 27, 1923, p. 8 Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west From Photoplay, Vol. 24 (July-December) 1923, p. 126: Jerry of Sherman, Texas. — Men as I before, and sapiently, have observed are but human. Rodolph Valentino is a man, therefore human. Hence he will be glad to know that you, who write backhandedly under the soubriquet of Jerry, "worship at his shrine as ardently as any flapper. He's so disgustingly handsome." Suspicion stirs deep in my being, Jerry. Maybe you are a man and envious of the darkeyed one's reign over the hearts of the women in his audiences. I am not sure. If you are Mr. Jerry instead of Miss Jerry you would not be likely to say, "His eyes intrigue me, exceedingly, oh where, oh where, can I obtain a photograph of 'The Young Rajah'?" Write him care of his headquarters, 50 West 67th Street, New York, N. Y. From New York Times, August 25, 1926, p.1: Thousands in Riot at Valentino Bier; More Than 100 Hurt – Crowd at Funeral Church Is Out of Police Control at Times – Big Windows Crash…Traffic Interrupted, Mounted Policemen Charge Again and Again in Vain. More than 30,000 persons tried to get a two-second glimpse of the body of Rudolph Valentino, lying in state at Campbell’s Funeral Church, on Broadway at Sixty-sixth Street, yesterday afternoon and last night. As a result, the Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west police were wholly unable to control the situation for several hours…. -
Valentino, Rudolph (1895-1926) by Peter J
Valentino, Rudolph (1895-1926) by Peter J. Holliday Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The most popular of silent-screen stars, the darkly handsome Valentino gazed at his heroines with a mixture of passion and melancholy that sent chills down female (and some male) spines. To American women he represented mysterious, forbidden eroticism, the fulfillment of dreams of illicit love and uninhibited passion; but most male moviegoers found his acting ludicrous, his manner foppish, and his screen character effeminate. His androgynous persona, at once assertively virile and gracefully sensitive, threatened traditional images of American masculinity in a crucial period of cultural change. Top: A Paramount Born Rodolfo Alfonzo Raffaele Pierre Philibert Guglielmi in Castellaneta, Italy in 1895, Pictures poster for The Valentino emigrated to New York in 1913. There he took a succession of jobs, including Shiek (1921). Above: Rudolph dishwasher and waiter, and was booked by the police several times on suspicion of Valentino (left) with petty theft and blackmail. Elinor Glyn. In 1917 he traveled to Hollywood where he landed bit parts in the movies, mostly as an exotic dancer or villain. He married bisexual actress Jean Acker in 1920, but the marriage was never consummated. Valentino's big break came in 1921 when Metro screenwriter June Mathis insisted that director Rex Ingram give him the lead in The Four Horsemen of the Apocalypse. The film catapulted Valentino into stardom. He reached new heights with The Sheik (1921) for Paramount. During the film's exhibition women fainted in the aisles. -
Reginalde M. Hannon Collection of Glass Negatives
http://oac.cdlib.org/findaid/ark:/13030/c8tx3m36 No online items Reginalde M. Hannon Collection of Glass Negatives Finding aid created by Seaver Center for Western History Research, Natural History Museum of Los Angeles County staff using RecordEXPRESS Seaver Center for Western History Research, Natural History Museum of Los Angeles County 900 Exposition Boulevard Los Angeles, California 90007-4057 (213) 763-3359 [email protected] http://www.nhm.org/site/research-collections/seaver-center 2017 Reginalde M. Hannon Collection P-282 1 of Glass Negatives Descriptive Summary Title: Reginalde M. Hannon Collection of Glass Negatives Dates: 1918 Collection Number: P-282 Creator/Collector: Mack Sennett, Inc. Mack Sennett Comedies (Firm) Extent: (Boxes: 7 1/2 photo; 1 5x7; 1 4x5; 1 ov folder) Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Los Angeles, California 90007-4057 Abstract: Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. Language of Material: English Access Research is by appointment only Publication Rights Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Preferred Citation Reginalde M. Hannon Collection of Glass Negatives. Seaver Center for Western History Research, Natural History Museum of Los Angeles County Scope and Content of Collection Glass negatives, in 8x10, 5x7, and odd sizes. Primarily of actors and actresses employed by the Mack Sennett Comedies Co., photographed by Evans Studios, Inc. (Studio name variations: Evans-Degaston; Nelson Evans Studio). Personalities include May Allison, Bathing Beauties, Betty Compson, Jackie Coogan, Cecil B. -
Child-Theft Across Visual Media
The Child-theft Motif in the Silent Film Era and Afterwards 7 The Child-theft Motif in the Silent Film Era and Afterwards — ※ — During the silent film era (1894–1927), the story of children who are stolen by ‘gypsies’ and then rescued/restored to their families resurfaces as one of the popular stock plots. I refrain here from analysing individ- ual films and offer, instead, two points for further consideration: firstly, a listing of works that stage the motif under discussion, and secondly, an expanded annotated filmography. The Films 1. Rescued by Rover (1905, UK) 2. Two Little Waifs (1905, UK) 3. Ein Jugendabenteuer (1905, UK) 4. Rescued by Carlo (1906, USA) 5. The Horse That Ate the Baby (1906, UK) 6. The Gypsies; or, The Abduction (1907, France/UK) 7. The Adventures of Dollie (1908, USA) 8. Le Médaillon (1908, France) 9. A Gallant Scout (1909, UK) 10. Ein treuer Beschützer (1909, France) 11. Scouts to the Rescue (1909, UK) 12. Il trovatore (1910, Italy/France) 13. Billy’s Bulldog (1910, UK) 14. The Little Blue Cap (1910, UK) 15. The Squire’s Romance (1910, UK) 16. L’Enfant volé (1910, France) 129 The Child-theft Motif in the Silent Film Era and Afterwards 17. L’Evasion d’un truand (1910, France) 18. L’Enfant des matelots (1910, France) 19. Le Serment d’un Prince (1910, France) 20. L’Oiseau s’envole (1911, France) 21. Children of the Forest (1912, UK) 22. Ildfluen(1913, Denmark) 23. La gitanilla (1914, Spain) 24. La Rançon de Rigadin (1914, France) 25. Zigeuneren Raphael (1914, Denmark) 26. -
Chickasaw Vets Lay Wreath at Tomb of the Unknowns
The Chickasaw Times PRESORTED STANDARD Post Office Box 1548 US Postage Ada, OK 74821 PAID Permit No. 1 Oklahoma City, OK 731 Chickasaw Times Vol. XLIX No. 12 Official publication of the Chickasaw Nation www.chickasawtimes.net December 2014 Dynamic Women Chickasaw vets lay wreath butterfly art contest Season’s Greetings Chickasaw Nation Arts & at Tomb of the Unknowns Humanities has announced its 2015 Dynamic Women of Season’s greetings and the Chickasaw Nation Confer- warmest holiday wish- ence and Forum butterfly art es from all of us at the contest. Each year new but- Chickasaw Nation! terfly artwork appears on all Christmas is a time to promotion materials for the celebrate our families, conference. our friends and our be- The 2015 selected artist will loved tribe. We thank receive a $200 cash award. God for the many bless- Artists must be female, age ings he has bestowed 14-18 and able to provide upon us, and we pray for proof of Chickasaw citizen- the health and happiness ship. Each artist may submit of those we love. one piece of artwork in a me- Chickasaws share a dium of the artist’s choice. special bond that has Entries may be submitted on endured throughout the art paper, canvas or art board generations. Through between 10 and 20 inches. the centuries, Chicka- Deadline for entry is January Gov. BILL ANOATUBBY saws have faced many chal- 16, 2015. Chickasaw veterans Leonard Sealey, of Lawton, Oklahoma and Tom Cooper, of Ada, Oklahoma lay a lenges. With God’s grace and guidance, we have endured For more information, con- wreath on the Tomb of the Unknowns in Arlington National Cemetery, Saturday, November 8. -
RUDOLPH VALENTINO January 1971
-,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-. -
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. -
The Inventory of the Larry Carr Collection #966
The Inventory of the Larry Carr Collection #966 Howard Gotlieb Archival Research Center /\ : 1., CARR, LARRY II I Gift of his estate, Feb. 1987 1f1boxes, packages The collection contains research (mainly clippings, photographs) publicity and text for his two books: FOUR FABULOUS FACES: The Evolution and Metamorphosis of Garbo, Swanson, Crawford, Deitrich, 1970; and MORE FABULOUS FACES: The Evolution and Metamorphosis of Dolores Del Rio, Myrna Loy, Carole Lombard, Bette Davis, and Katharine Hepburn, Doubleday, 1979. Also research for other proposed books, many photographs of himself, some correspondence: with Barry Norton (see Scrapbook, Box 10) and with Joan Crawford, (Box 8). There are many movie magazine covers, dating from the 1930s (ca, 700?), a number of printed calendar pin-ups done by Rolf Armstrong, who also did many of the film magazine covers. Some pastel originals of film stars, and some covers for Parents magazine, by Charles Gates Sheldon, 1884-1961, Box 1 Clips, photos, include Blechman photos of Gloria Swanson Box 2 Photos, clips for MORE FABULOUS FACES Box 3 MORE FABULOUS FACES and FOUR FABULOUS FACES, Some text and clips Box 4 Movie magazine covers; 3 drawings done from the covers by Larry Carr. Covers and photos originally in very large pale green scrapbook labelled "Barbara Ann Lecocq" Box 5 Photographs Box 6 Photos for MORE FABULOUS FACES consisting of envelopes labelled "Extras" for Davis, Lombard, Hepburn, Loy, Del Rio. Envelope "M.F.F. Stat Negatives". 2 black binders of film magazine covers Box 7 Photos and clips, including many photos of Larry Carr. Box 8 Photos of Larry Carr, Newspaper clips of Garbo, Dietrich, Crawford and "Crawford Research", clips and letters from her. -
Pueblo Prints a PEEK EACH WEEK F|E LA at by VERDAD
Pueblo Prints A PEEK EACH WEEK f|E LA AT By VERDAD. MOTION PICTURES g “UP UN MABEL'S ROOM.” youth he loved a lady, but he didn’t a lot of good fun: “Up in know he was the father of a son. fJIHERE’S■ Provost, Men, It seems, were like that in the Mabel’s Room.” Marie one time bathing beauty for Mack Sen- old days. And so on and so on until nett, has lost none of her shapeliness the final climax, when his son, “Senor and has become a comedienne of high Daredevil,” "brings home the bacon” order since she “walked the beach.” to proud papa, saves his gold, saves She does the honors In this picture the mining camp and marries the girl and does them well, and parades her —tho you wonder why he does 1L form to the delight of the observant Dorothy Devore plays the girl—badly. sex and the envy of the hopeful one. The new star, Ken Maynard, has rpHE Guitarist is a blind man. He Juan, nicknamed “the mule,” is the The picture is a bedroom farce- appeared In pictures before only as ft never learnt how to read notes nor all-around flunky in the oldest hotel comedy done over from the stage suc- “stunt man.” He rides daringly and the yet in value of notes, he knows how the village. This swarthy bachelor cess. The story concerns itself with his horse, “TErzan,” is a beauty, who to keep time and play anything he is not an old man, nor will he ever be the adventures of three couples and goes thru many tricks that prove a hears. -
PDF File About Claire Windsor
r ..~- Claire Windsor One Fan's Fond Remembrance by Al Bohrer Claire Windsor was born Clara Viola "Ola" Cronk in Cawker City, Kansas, on April 14, 1897\An early marriage, to William Bowes, ended in divorce. With her infant son, she moved with her parents to Seattle, Washington, where she entered and won a local beauty contest. Later, she moved to California and took the advice of a friend who suggested that the burgeoning film industry could help her support her little boy. She first hired on as an extra and toiled anonymously for a while. Then, one day she caught the eye of Lois Weber, the pioneer producer and director of silent pictures. Weber was impressed by Olaas rare beauty and signed her to a contract for $150 per week. She did a string of five movies from 1920 through 1922. The second year of her contract her salary increased to $350 per week. She was ideally suited to the kind of melodramas the Weber pictures called for. Another newcomer, Louis Calhern,' was her leading man in two of these, The Blot and Whatas Worthwhile (both 1921). In June of 1921, a feverish headline in the San Francisco Chronicle proclaimed: "Chaplin Offers $1000 Reward for Missing Star." This started the ball rolling. Claire was the "missing film star." Of course, this was nothing more th~n a publicity stunt. Claire had been a frequent Chaplin date. Claire and Buddy were regulars at William Randolph Hearstas "Xanadu" castle in the late 1920s. Among the many books written on this social phenomenon, the late Ken Murray did a marvelous job with his, "The Golden Days at San Simeon." Claire figured prominently in the book, among the many stars who spent happy hours frolicking in the luxurious setting.