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Citizen Kane
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M CC II TT II ZZ EE NN KK AA NN EE Directed by Orson Welles Produced by Orson Welles Distributed by RKO Radio Pictures Released in 1941 n any year, the film that wins the Academy Award for Best Picture reflects the Academy ' s I preferences for that year. Even if its members look back and suffer anxious regret at their choice of How Green Was My Valley , that doesn ' t mean they were wrong. They can ' t be wrong . It ' s not everyone else ' s opinion that matters, but the Academy ' s. Mulling over the movies of 1941, the Acade my rejected Citizen Kane . Perhaps they resented Orson Welles ' s arrogant ways and unprecedented creative power. Maybe they thought the film too experimental. Maybe the vote was split between Citizen Kane and The Maltese Falcon , both pioneering in their F ilm Noir flavor. Or they may not have seen the film at all since it was granted such limited release as a result of newspaper baron William Randolph Hearst ' s threats to RKO. Nobody knows, and it doesn ' t matter. Academy members can ' t be forced to vote for the film they like best. Their biases and political calculations can ' t be dissected. To subject the Academy to such scrutiny would be impossible and unfair. It ' s the Academy ' s awards, not ours. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
The World's Largest and Most Extraordinary Collection
For Immediate Release: THE WORLD’S LARGEST AND MOST EXTRAORDINARY COLLECTION OF SIGNED HOLLYWOOD PHOTOGRAPHS WILL BE OFFERED AT JULIEN’S AUCTIONS IN LOS ANGELES ON SEPTEMBER 23, 2016 Harold Lloyd’s Rogues Gallery of Exclusive Hollywood Autographed Photographs Los Angeles, California – (September 15, 2016) – Julien’s Auctions, the world-record breaking auction house to the stars, will present one of the world’s most extraordinary collections of autographed Hollywood photographs — Harold Lloyd’s Rogues Gallery — on Friday, September 23, 2016 in Los Angeles. The collection features nearly 200 rare, signed photographs from Hollywood’s Golden Era. The auction will take place at the highly-anticipated Icons & Idols: Hollywood auction event that weekend at Julien’s Auction Gallery in Los Angeles. The Rogues Gallery Autograph Collection is the most extensive and unique autograph collection amassed by the silent film star Harold Lloyd and is comprised of the most significant figures of Hollywood’s “Golden Age.” This one-of-a-kind collection is a time capsule of Hollywood, Americana and the politics of the day. “The King of Daredevil Comedy,” Harold Lloyd is best remembered today as the young man dangling desperately from a clock tower in the 1923 classic, “Safety Last.” At the height of his career, Lloyd was one of the most popular and highest-paid stars of his time. He made more films than his contemporaries Charlie Chaplin and Buster Keaton combined. With hits like his 1922 film “Grandma’s Boy,” Lloyd became a strong force in bringing about the advent of the “feature-length” film. Harold Lloyd’s acting career rose to prominence during the silent film era and spanned 34 years of active filmmaking, over 200 comedies and one 1928 Academy Award nomination. -
HAROLD LLOYD Brooklyn Speedy Film Location Tour a SILENT VISIONS Tour of Brooklyn This Tour Is Provided As a Spec
HAROLD LLOYD Brooklyn Speedy Film Location Tour A SILENT VISIONS Tour of Brooklyn This tour is provided as a special bonus to author John Bengtson’s introduction of Harold Lloyd’s Speedy at Film Forum, 209 West Houston Street, New York, on Sunday, October 21 at 3:10 pm, and on Monday, October 22 at 7:30 pm, supplementing his book Silent Visions: Discovering Early Hollywood and New York through the Films of Harold Lloyd, Santa Monica Press (2011). The tour is annotated with corresponding page numbers (SV) from Bengtson’s book. Harold Lloyd filmed his final silent comedy feature Speedy (1928) in New York and Brooklyn during the late summer of 1927. Aside from a lengthy sequence filmed at Coney Island (filmed partly at Venice, California), most of the Brooklyn locations were filmed in the D.U.M.B.O. (Down Under the Manhattan Bridge Overpass) neighborhood. While the elevated trolley tracks appearing in the film that once ran along Old Fulton Street and along Broadway no longer exist, many filming spots are still recognizable. Lloyd plays title character Harold “Speedy” Swift (“Speedy” was Lloyd’s real‐life nickname), who celebrates losing his soda jerk job by taking his girl, Jane (played by Ann Christy), to Coney Island for the day. Speedy’s next job as a taxi‐cab driver ends disastrously, but not before he takes Babe Ruth (in a cameo appearance) on a wild ride to Yankee Stadium. Jane’s grandfather, Pop, operates the last remaining horse‐drawn trolley franchise in New York. Shady developers wish to buy out Pop’s interest, but when he refuses their low offer, they steal his trolley, as they know the franchise will expire if the trolley does not run at least once every 24 hours. -
Cine-Kodak News; Vol. 8, No. 12; Jan
FAHRENHEIT vs. FOOT AGE INDICA TOR There's No Need to Let the Temperature Congeal Your Movie Activity In this ISSUe: WINTER-TIME U NTIL recent years civilized man has regarded winter as a seasonal blight to which it OUTDOOR FILMING was far pleasanter not to expose himself. Then fashion designers finally did him a good turn- though it was not at first recog- nized as such. Winter costumes so bewitchingly striking and colorful were created for the A TIGER "sHoor' fair sex that, the dangers of lame backs and aching leg muscles notwithstanding, milady IN INDIA moved outdoors. And man, if not in proverbial pursuit, at least resigned to the inevitable, shed smoking jacket and slippers for windbreaker and snow boot, and dragged himself wearily along. EDITING AND TITLING- Much to their own surprise, they both have tremendously enjoyed every visitation of a Gainful Seasonal Occupation winter ever since. All of which has a very distinct bearing upon the subject at hand- home movies . For the order of outdoors today is action. And action is the whole alphabet of vitamins AROUND THE CLOCK to every properly reared movie camera. WITH CINE-KODAK- There's action on lakes and rinks- in the swoopings of expert skaters- the teeterings Things to Film , and how to Film of beginners on double runners- in the graceful feats of gifted performers on the ice- Them , from Dawn to Midnight and the ungraceful spills of ungifted performers. There's action in the hissing rush of bobsleds- in the uncertain journeys of six-year- olds on diminutive "flyers"-in the neck-breaking maneuvers of the "belly-whopper" KODASCOPE LIBRARY AND brigade, swerving from side to side in their descent of a tree studded coasting hill. -
Tokyo Story (Tokyo Monogatari, Yasujiro Ozu, 1953) Discussion Points 1
FAC@JGC John Gray Centre Star Room April 2016 Tokyo Story (Tokyo monogatari, Yasujiro Ozu, 1953) Discussion Points 1. Think about what is at the core (theme) of the story? 2. How does Ozu depict family dynamics in this film – specifically the bond between parents and children? 3. How do you respond to the slow pace of the film? 4. What is your opinion on the portrayal of women in the narrative? 5. What do you think is the effect of presenting: (a) frames in which the camera is right between the two people conversing and films each person directly? (b) so-called tatami shots (the camera is placed as if it were a person kneeling on a tatami mat)? 1 Dr Hanita Ritchie Twitter: @CineFem FAC@JGC John Gray Centre Star Room April 2016 6. How does Ozu present the progression of time in the story? 7. Think about the following translated dialogue between Kyoko, the youngest daughter in the family, and Noriko, the widowed daughter-in-law, after Mrs Hirayama’s death. How would you interpret it in terms of the story as a whole? K: “I think they should have stayed a bit longer.” N: “But they’re busy.” K: “They’re selfish. Demanding things and leaving like this.” N: “They have their own affairs.” K: “You have yours too. They’re selfish. Wanting her clothes right after her death. I felt so sorry for poor mother. Even strangers would have been more considerate.” N: “But look Kyoko. At your age I thought so too. But children do drift away from their parents. -
Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard . -
1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism
Notes 1 Introducing American Silent Film Comedy: Clowns, Conformity, Consumerism 1. This speech has often been erroneously quoted (not least by Adam Curtis in his 2002 documentary The Century of the Self ) as ‘You have taken over the job of creating desire and transformed people into constantly moving happi- ness machines’ – a tremendously resonant phrase, but not one which actually appears in the text of Hoover’s speech. Spencer Howard of the Herbert Hoover Presidential Library attributes the corrupted version to a mis-transcription several decades later. 2. The title of his 1947 essay. His key writings in the 1920s were Crystallizing Public Opinion (1923) and Propaganda (1928). 3. Of course, not all responded sympathetically to the film’s vicious racist message. The NAACP mounted a particularly effective campaign against the film, which was banned in several states and sparked mass protests in others. For the full story see Melvyn Stoke, D.W. Griffith’s ‘The Birth a Nation’, Oxford: Oxford University Press, 2008. 4. CPI titles made in 1917/18 include America’s Answer, Under Four Flags and Pershing’s Crusaders – distributors who wanted the new Fairbanks or Pickford picture would be forced to take a CPI release as well. 2 A Convention of Crazy Bugs: Mack Sennett and the US’s Immigrant Unconscious 1. The temptation, here, is to regard Sennett’s name and the Keystone brand as being broadly synonymous, but one should remember that Sennett started off, first, as an actor and then, as a director at Biograph in 1909; the Key- stone Company was set up by Adam Kessel and Charles Baumann in 1912 (Sennett was never the owner). -
Noel Drewe Collection Film 178D5
Noel Drewe Collection Film 178D5 178D5.1 Outlook Very Black 9.5mm, Safety Film, Pathescope Noel Drewe Brittle Noel Drewe Collection 178D5.2 Monkeyland 9.5mm Noel Drewe Brittle, perforation damage Noel Drewe Collection 178D5.3 Fun at the Circus 9.5mm, Pathescope Noel Drewe , Circusama, Yesterday Circus Today Circus Noel Drewe Collection 178D5.4 At the Circus 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus 2 Reels. Sound. Featuring "Circus Karo". Includes trapeze, whip act and 'sea lions'. Original sound commentary by Geoffrey Sumner. Supplied by C. W. Cramp Noel Drewe Collection 178D5.5 A Man-Sized Pet 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Supplied by C. W. Cramp Noel Drewe Collection 178D5.6 A Fresh Start 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle, box rust transfer Adams, Jimmy Noel Drewe Collection 178D5.7 Circus at the Zoo 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle Circus USA Silent. Includes chimps Noel Drewe Collection 178D5.8 Circus Comes to Town 400 feet Harris, Ron 16 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Silent. Features Belle Vue circus On box ‘This film purchased from Ilkeston Cine Service Supplied by C. W. Cramp Noel Drewe Collection 178D5.9 Circus Stedman of Leeds Holdings of Blackburn Ltd Cine and photographic Suppliers 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Bertram Mills Silent. Includes King George VI and Queen Elizabeth’s coronation, so the circus must be 1936/37. -
Film and Architecture
FLM 400 | English 820 Seminar in Film History | Film and Architecture Professor Justus Nieland M 12:40-3:30, W 12:40-2:30, Bessey Fall 2015 Office Hours: W, 2:45-4:15, Wells C641 Email: [email protected] Course Description: This course explores various crossings between the arts of film and architecture to illuminate episodes in media history and theory. We will consider cinema’s architectural qualities: the specific capacity of film to construct, organize, and sequence space, and to move spectators dynamically through space in time—what Elie Faure once called “the art of cineplastics.” We will examine the work of directors whose films are strongly interested in architecture, design, and transformations of the built environment, as well as the work of architects and designers who have worked in and with film, and have embedded their architecture and design practice in various cultures of the moving image. We will explore the relationship between directors, art directors, and production designers in the construction of cinematic architecture, as well as the history of the architecture of the film studio itself. We will study films that foreground important works of architecture. We will consider the role of film and multimedia in the artistic construction of immersive “environments.” And we will examine the role of film architecture in a poetics and politics of infrastructure. Methodologically, we will compare strategies and concepts for understanding film’s relationship to the built environment across a variety of disciplines and fields, including film and media theory and history, urban history and planning, architectural and design history and theory, sociology, art history, and materialist ecocriticism. -
The Thief of Bagdad Di Raoul Walsh (USA, 1924)
The Thief of Bagdad di Raoul Walsh (USA, 1924) The Thief of Bagdad rappresenta il progetto produttivo più ambizioso e avventuroso di Douglas Fairbanks, massima star maschile di Hollywood nel periodo tra gli anni Dieci e Venti. Fairbanks era un attore trascorso dai ruoli di giovane americano intraprendente a quelli di spericolato ed esotico protagonista di spettacolari film in costume, che egli stesso produceva. Come per altri grandi cineasti suoi contemporanei (Charlie Chaplin, Buster Keaton e Harold Lloyd), la personalità di Fairbanks costituiva la vera anima ed energia creativa di tutti i film che produceva e interpretava, che venivano diretti da registi diversi (nel caso di Thief un cineasta straordinario come Raoul Walsh: Fairbanks l’aveva conosciuto quando lavoravano entrambi per David Wark Griffith). Per il film Fairbanks autorizza la realizzazione del più grande set mai costruito a Hollywood, oltre due chilometri quadrati: il set viene ideato e arredato dal giovane ma già brillante architetto (che aveva studiato a Yale e Edinburgo) William Cameron Menzies. Thief sarà dunque uno tra i film scenograficamente più ambiziosi (e costosi: budget record di 1.135.654 dollari, 65 settimane di lavorazione) dell’epoca d’oro del cinema muto hollywoodiano. Menzies (il futuro primo Production Designer della storia del cinema) costruisce per il film un mondo fantastico completo di palazzi, alti ed imponenti, e di ogni dettaglio dei loro esterni (cupole, minareti e… alti piani di pagode) e dei loro sontuosi interni. La Bagdad creata da Menzies, costruita su una superficie enorme (venticinquemila metri quadrati), contribuisce a rilanciare nel cinema americano un sogno di esotismo orientaleggiante e di architettura modernista. -
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.