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On the History and Ideology of Film Lighting Peter Baxter During The
Downloaded from On the History and Ideology of Film Lighting http://screen.oxfordjournals.org Peter Baxter During the 1880's, the major theatres of Europe and America began to convert their stage lighting systems from the gas which had come into widespread use in the twenty or thirty previous years to electricity. It is true that arc lighting had been installed at the Paris Opera as early as 1846, but the superior efficiency of gas illumination at the time, and the surety of its supply, had brought at Universidade Estadual de Campinas on April 27, 2010 it into prominent use during the third quarter of the century when it attained no small operational sophistication. From a single control board gas light could be selectively brightened or dimmed, even completely shut down and re-started. The theatrical term ' limelight' originally referred to a block of lime heated to incan- descence by a jet of gas, which could throw a brilliant spot of light on the stage to pick out and follow principal actors. Henry Irving so much preferred gas to electric light that he used it for his productions at the Lyceum Theatre, and achieved spectacular results, into the twentieth century, when the rest of theatrical London had been electrified for some years. But despite the mastery that a man like Irving could attain over gas lighting, for most stages it was ' strictly for visibility and to illuminate the scenery. The Victorians painted that scenery to incorporate motivated light meticulously. A window would be painted and the light coming through the window would be painted in. -
Modern Jewish Culture: Key Texts and Their Afterlives
Modern Jewish Culture: Key Texts and Their Afterlives Comparative Literature 01:195:230 Jewish Studies 01:563:230 Provisional Syllabus Prof. Jeffrey Shandler Office: Room 102 Email: [email protected] Miller Hall (14 College Ave.; behind 12 College Ave.) Tel: 848-932-1709 Course Description This course examines four key texts, written between 1894 and 1944: Sholem Aleichem’s “Tevye the Dairyman” stories (the basis of the Broadway musical Fiddler on the Roof), Sh. Ansky’s play “The Dybbuk,” Samson Raphaelson’s short story “The Day of Atonement” (the basis of the 1927 film The Jazz Singer), and Anne Frank’s Diary of a Young Girl. These works have become fixtures not only of modern Jewish culture but also of world culture, primarily through adaptations and remediations in stage, film, broadcasting, music, dance, and visual art. Students will read these four texts, discuss the complex histories of their original composition, and examine the trajectories defined by how these works have been revisited over the years in diverse forms by various communities. As a result, students will consider how the texts in question have become modern cultural touchstones and how to understand the acts of adaptation and remediation as cultural practices in their own right. No prerequisites. All readings in English. Core Learning Goal AHp. Analyze arts and/or literatures in themselves and in relation to specific histories, values, languages, cultures, and technologies. Course Learning Goals Students will: • Examine the creative processes behind key works of modern Jewish culture, focusing on issues of composition, redaction, and translation. • Examine the process by which these key works are adapted, remediated, or otherwise responded to in various media and genre, focusing on these efforts as cultural practices in their own right. -
S T U D E N T L I F E a N D C U L T U R E a R C H I V
Student Life and Culture Archives Rayna Simons Prohme, ’17, entered the University during an era when the campus was full of intellec- Marriage announcement tual ferment. The ruby-haired daughter of a wealthy Rayna in the sent to Thomas Arkle Clark 1910sChicago broker, Prohme thrived in this stimulating 1916 Illio by Raphaelson, Jan. 1, 1918. Rayna and Samson Raphaelson posing for Scribblers’ Raphaelson bitterly Club group photo (from 1918 Illio) academic climate. She quickly became a campus remembered it as “a leader, joining numerous organizations including the pretty damn skimpy Daily Illini, the Scribblers’ Club, and the Alethenai wedding.” Literary Society. Yet the popular and intelligent Rayna Rwas never invited to pledge a sorority. Her friend Dorothy Day attributed this to anti-Semitism. After graduation, she married her classmate Samson Raphaelson. The marriage did not last and she later wed the newspaperman Bill Prohme. Rayna traveled to China and ultimately became editor of the Chinese Rayna wrote “What Red Doesn’t Know”–a rare (for her) fictional Communist Party’s English-language newspaper piece--for the October 1916 issue in Hankow. She died in Moscow in 1927 of a brain of The Illinois Magazine, which inflammation. She was only 33 years old. she edited with Raphaelson and others. Samson Raphaelson, ’17, triumphed over childhood poverty to become a Big Man on Campus (BMOC) at the University and later achieved success as a Broadway playwright and Hollywood screenwriter. “To Hell With All Professors,” Raphaelson was already engaged to Rayna when the cover of Oct. 1916 The Siren. pair entered the University in the fall of 1914. -
• ASC Archival Photos
ASC Archival Photos – All Captions Draft 8/31/2018 Affair in Trinidad - R. Hayworth (1952).jpg The film noir crime drama Affair in Trinidad (1952) — directed by Vincent Sherman and photographed by Joseph B. Walker, ASC — stars Rita Hayworth and Glenn Ford and was promoted as a re-teaming of the stars of the prior hit Gilda (1946). Considered a “comeback” effort following Hayworth’s difficult marriage to Prince Aly Khan, Trinidad was the star's first picture in four years and Columbia Pictures wanted one of their finest cinematographers to shoot it. Here, Walker (on right, wearing fedora) and his crew set a shot on Hayworth over Ford’s shoulder. Dick Tracy – W. Beatty (1990).jpg Directed by and starring Warren Beatty, Dick Tracy (1990) was a faithful ode to the timeless detective comic strip. To that end, Beatty and cinematographer Vittorio Storaro, ASC, AIC — seen here setting a shot during production — rendered the film almost entirely in reds, yellows and blues to replicate the look of the comic. Storaro earned an Oscar nomination for his efforts. The two filmmakers had previously collaborated on the period drama Reds and later on the political comedy Bullworth. Cries and Whispers - L. Ullman (1974).jpg Swedish cinematographer Sven Nykvist, ASC operates the camera while executing a dolly shot on actress Liv Ullman, capturing an iconic moment in Cries and Whispers (1974), directed by friend and frequent collaborator Ingmar Bergman. “Motion picture photography doesn't have to look absolutely realistic,” Nykvist told American Cinematographer. “It can be beautiful and realistic at the same time. -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright. -
CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student. -
Nashville Community Theatre: from the Little Theatre Guild
NASHVILLE COMMUNITY THEATRE: FROM THE LITTLE THEATRE GUILD TO THE NASHVILLE COMMUNITY PLAYHOUSE A THESIS IN Theatre History Presented to the Faculty of the University of Missouri – Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by ANDREA ANDERSON B.A., Trevecca Nazarene University, 2003 Kansas City, Missouri 2012 © 2012 ANDREA JANE ANDERSON ALL RIGHTS RESERVED THE LITTLE THEATRE MOVEMENT IN NASHVILLE, TENNESSEE: THE LITTLE THEATRE GUILD AND THE NASHVILLE COMMUNITY PLAYHOUSE Andrea Jane Anderson, Candidate for the Master of Arts Degree University of Missouri - Kansas City, 2012 ABSTRACT In the early 20th century the Little Theatre Movement swept through the United States. Theatre enthusiasts in cities and towns across the country sought to raise the standards of theatrical productions by creating quality volunteer-driven theatre companies that not only entertained, but also became an integral part of the local community. This paper focuses on two such groups in the city of Nashville, Tennessee: the Little Theatre Guild of Nashville (later the Nashville Little Theatre) and the Nashville Community Playhouse. Both groups shared ties to the national movement and showed a dedication for producing the most current and relevant plays of the day. In this paper the formation, activities, and closure of both groups are discussed as well as their impact on the current generation of theatre artists. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “Nashville Community Theatre: From the Little Theatre Guild to the Nashville Community Playhouse,” presented by Andrea Jane Anderson, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. -
Mckittrick, Casey. "Hitchcock's Hollywood Diet."
McKittrick, Casey. "Hitchcock’s Hollywood diet." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 21–41. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 09:01 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 Hitchcock ’ s Hollywood diet lfred Joseph Hitchcock ’ s 1939 relocation from his native London to Los AAngeles set the stage for a surreal indoctrination into a culture he had only glimpsed through the refractions of the silver screen. Signing with SIP meant much more than leaving the homeland that had embraced him with growing enthusiasm as a national treasure over a fi fteen-year directorial career. It meant more than adapting to new and cutting edge fi lm technologies, more than submitting to the will of an erratic and headstrong studio boss. It also signaled his entrance into a milieu that demanded public, almost quotidian, access to his body. Consequently, it required a radical reassessment of his relationship to his body, and an intensifi cation of self-surveillance and heightened self- consciousness. In making the move to America, it is impossible to say how much Hitchcock had anticipated this rigorous negotiation of his celebrity persona. He discovered quickly that playing the Hollywood game required a new way of parsing the corporeal, and it made impossible the delusion — had he ever entertained one — of living or directing fi lms with any sense of disembodiment. -
Escala En Buenos Aires: Los Primeros Años De John Alton En El Cine Argentino
149 Escala en Buenos Aires: los primeros años de John Alton en el cine argentino Por Iván Morales* Resumen: El siguiente artículo estudia los primeros años de John Alton en el cine argentino, donde se desempeñó como director de fotografía entre 1932 y 1939. Alton nació en el Imperio austrohúngaro, se formó en Hollywood durante los años veinte, a fines de esa década viajó a Europa para ocuparse de los estudios que Paramount tenía en Francia, trabajó brevemente como camarógrafo de exteriores en países de Asia y África, y finalmente llegó a la Argentina, donde permaneció durante siete largos años hasta que regresó a Hollywood definitivamente. El primer aspecto que desarrollaré es la cultura viajera de John Alton y su llegada a Buenos Aires. En segundo lugar, analizaré el rol clave que tuvo Alton en la consolidación de una joven cinematografía nacional que aspiraba a convertirse en industria. A partir de su paso por el proyecto cosmopolita de la productora SIFAL, trabajaré con la película Escala en la ciudad (Alberto de Zavalía, 1935) para dar cuenta de cómo su fotografía implicó una modernización técnica y estética inédita para el cine argentino. Palabras clave: John Alton, dirección de fotografía, cine argentino, film noir. Resumo: Este artigo estuda os primeiros anos de John Alton no cinema argentino, onde atuou como diretor de fotografia entre 1932 e 1939. Alton nasceu no Império Austro-Húngaro, se formou em Hollywood durante os anos 1920, no final dessa década viajou à Europa para trabalhar nos estúdios que a Paramount tinha na França, trabalhou brevemente como cinematografista de exteriores em países da África e da Ásia e, finalmente, chegou à Argentina, onde permaneceu durante sete anos até regressar a Hollywood definitivamente. -
A History of the Speech and Drama Department at North
-7R A HISTORY OF THE SPEECH AND DRAMA DEPARTMENT AT NORTH TEXAS STATE UNIVERSITY AS IT RELATES TO GENERAL TRENDS IN SPEECH EDUCATION 1890-1970 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Mildred J. Sandel, B. S. Denton, Texas August, 1971 Sandel, Mildred J., A History of the Speech and Drama Department at North Texas State Universit a it Relates to General Trends in peeh Education LS-97. Master of Science (Speech and Drama) August, 1971, 189 pp., 6 tables, 3 appendices, bibliography, 53 titles. Training in oral discourse has been offered in a virtually continuous and increasingly diversified curriculum from the founding of North Texas as a private normal college to 1970. The purpose of this study is to compare the training given at North Texas State University to national trends in speech education. The hypothesis for such a study is that historical comparisons may be beneficial to scholars as in- dicative of those methods that have met with the greatest success. The thesis is divided into five chapters. Chapter I introduces the study, establishes the format of the remaining chapters, and gives the historical trends in speech education in the United States. The historical trends were established from publications of the Speech Association of America, where they were available, and from publications of the regional associations or records of representative institutions of higher learning when no composite studies existed. 1 2 The trends in speech education at North Texas were re- corded from the official records of the university, including Bulletins, Capus Chat, Yucca, records of the Registrar and official records of audits, faculty committees, and similar reports. -
Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive
Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive By Tyfahra Danielle Singleton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Judith Butler, Chair Professor Chana Kronfeld Professor Linda Williams Fall 2011 Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Copyright © 2011 by Tyfahra Danielle Singleton Abstract Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Judith Butler, Chair ―Facing Jazz, Facing Trauma‖ posits American jazz music as a historical archive of an American history of trauma. By reading texts by Gayl Jones, Ralph Ellison, Franz Kafka; music and performances by Louis Armstrong and Billie Holiday; the life, art and films of Josephine Baker, and the film The Jazz Singer (1927), my goal is to give African American experiences of trauma a place within American trauma studies and to offer jazz as an extensive archive of testimony for witnessing and for study. Initially, I explore the pivotal historical moment where trauma and jazz converge on a groundbreaking scale, when Billie Holiday sings ―Strange Fruit‖ in 1939. This moment illuminates the fugitive alliance between American blacks and Jews in forming the historical testimony that is jazz. ―Strange Fruit,‖ written by Jewish American Abel Meeropol, and sung by Billie Holiday, evokes the trauma of lynching in an effort to protest the same. -
NINOTCHKA (1939, 110 Min)
February 1, 2011 (XXII:3) Ernst Lubitsch, NINOTCHKA (1939, 110 min) Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder, Walter Reisch, Melchior Lengyel (story) Produced by Ernst Lubitsch and Sidney Franklin Cinematography by William H. Daniels Edited by Gene Ruggiero Art Direction by Cedric Gibbons Costume Design by Adrian Greta Garbo...Ninotchka Melvyn Douglas...Leon Ina Claire...Swana Bela Lugosi...Razinin Sig Ruman...Iranoff Felix Bressart...Buljanoff Alexander Granach...Kopalski Gregory Gaye...Rakonin CHARLES BRACKETT (November 26, 1892, Saratoga Springs, New National Film Registry 1990 York – March 9, 1969, Los Angeles, California) won four Academy Awards: 1946 – Best Screenplay (The Lost Weekend) – shared w. ERNST LUBITSCH (January 28, 1892, Berlin, Germany – November Billy Wilder; 1951 – Best Screenplay (Sunset Blvd.) – w. Billy 30, 1947, Hollywood, California) won an honorary Academy Wilder, D.M. Marshman Jr.; 1954 – Best Screenplay (Titanic) – w. Award in 1947. He directed 47 films, some of which were 1948 Walter Reisch, Richard L. Breen; and 1958 – Honorary Award – That Lady in Ermine, 1946 Cluny Brown, 1943 Heaven Can Wait, (“for outstanding service to the Academy”). He has 46 1942 To Be or Not to Be, 1941 That Uncertain Feeling, 1940 The screenwriting titles, some of which are 1959 Journey to the Center Shop Around the Corner, 1939 Ninotchka, 1938 Bluebeard's Eighth of the Earth, 1956 “Robert Montgomery Presents”, 1955 The Girl Wife, 1937 Angel, 1935 La veuve joyeuse, 1934 The Merry Widow, in the Red Velvet