DOCSLIB.ORG

Me University of Southern California Me Academy of Motion Picture Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Me University of Southern California Me Academy of Motion Picture Arts me UniversitY of Southern California IN COOPERATION WITH me Academy of Motion Picture Arts and Sciences OFFERS I ~Tld()()U~TI()~ T() Vt-l()T()VLA~ COURSE BEGINS SPRING SEMESTER 19 2 9 · ' Introduction to Photoplay A Comprehensive Course of Lectures with Class Discussions and Assigned Readings Introductory to the Study of the Motion Picture Art and Industry Bovard Auditorium UNIVERSITY OF SOUTHERN CALIFORNIA AND THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES OFFICERS AND FACULTY RUFUS B. VON KLEINSMID, A.M., SeD., J .D ., Ph. et Litt. D., L.L.D., President of the University. KARL T. WAUGH, A .M., Ph.D., L.L.D., Dean of the Col­ lege of Liberal Arts and Professor of Psychology. WILLIAM RAY McDoNALD, A.M., Instructor in Speech and University Play Director. OFFICERS OF THE ACADEMY OF MOTTO PICTURE ARTS AND SCIENCES DOUGLAS FAIRBANKS, President WILLIAM C. D EMILLE, Vice-President lVI. C. L EVEE, Treasurer FRANK WOODS , Secretary --0-- COMMITTEE ON COLLEGE AFFAIRS MILTON SILLS BEULAH DIX FLEBBE Chairman CLARA BERANGER Roy POMEROY LOTTA WOODS J. A. BALL EDWARD J. MONTAGUE IRVING THALBERG CHANDLER SPRAGUE JOHN W. CO NSIDINE PAUL SLOANE DARRYL ZANUCK FOREWORD N presenting the " Introduction to Photoplay," the U ni­ versity and the Academy have taken into consideration I the necessity of an . introductory course to meet the needs of students who have had a year or two of Liberal Arts and are contemplating majoring in one of the motion picture fields. I t will serve both as an orientation in the field of photoplay as well as a means of determining the aptitude of students to continue in one of the more technical branches of the subject. Within the past few years the motion picture industry has grown from a small experimental enterprise to become one of the largest industries in our country. In the number of persons it emplovs directly and indirectly, and particularly in the number whose welfare and enjoyment are affected by it, it is comparable with our greatest utilities. As is the case with all new ly-evolved and rapidly-growing enterprises, the moving picture industry has been manned largely by those readiest found, who seemed to have some of the qualifications desired. It is now beyond the experimental stage and has arrived at the point where success in the vari­ ous lines of motion picture work is to be achieved only by those who have made the most thoroughgoing and careful preparation for the work, and those who have the best prac­ tical and cultural background for the tasks to be undertaken. It is worthy of comment that 96 per cent of all motion pictures produced in the world are made in L os Angeles and vicinity, and it is both desirable and convenient that in this city should be provided the opportunity for training of expert workers in this field . In the summer of ] 927 the Academy of Motion Picture Arts and Sciences, an organization uniting into one body all branches of motion picture production, opened negotiations w ith the U niversity of Southern California looking toward obtaining such training in the science and art of moving pic­ tures for its proteges as would serve to raise the stand,uds and ideals of the business to the plane of the highest and most dignified professions. What the industry needs, and what the U niversity can give, is men and women trained in the fundamental sub­ jects of physics, chemistry, optics, art, architecture, English, dramatics, psychology, etc., with particular application to the 3 chemistry of the film, optics of motion picture camera work, the psychology of perception and interpretation, the art and architecture of motion picture design, stage craft, dramatics, action and speech, and the elements of plot and scenario writing. It is the understood agreement between the Academy of Motion Picture Arts and Sciences and the University of Southern California that in consideration of the University's planning these courses and offering them to duly qualified students, the Academy will give preference to those who have had the training in the courses outlined. In the College of Liberal Arts of the University we have worked out a new and adapted curriculum which now In­ cludes three courses, leading to appropriate degrees. 1. A course in the science and technique of cInema­ tography. 2. A course in composition, literature and criticism for moving picture scenario and continuity writing. 3. A course in architecture and fine arts with major emphasis on (a) architecture, (b) decorative arts, or (c) architectural engineering. A course for the training of voice and expression for those arriving at the profession of screen actor is under con­ sideration. Library and study facilities for the course are provided at the University, as well as advantages of a museum of Motion Picture Arts which adjoins the campus. The Academy aims to establish a technical laboratory and ? research library to facilitate the studies of those who . are advanced in the course, while the University opens its doors to those who must receive the necessary fundamental training. Requirements for admission to these courses are the same as for admission to the College of Liberal Arts, and the first two years' work in the various courses is in general similar to that in Liberal Arts. During the last two years occurs the major part of the specialization and field work. Enrollment for The Introductory Photoplay course begins with the opening of the Second Semester (Feb. 4-6). The membership of the class is limited to fifty and those among the applicants will be accepted who give some evidence or promise of success in photoplay work. KARL T. WAUGH, Dean. 4 LECTURERS DOUGLAS FAiRBANKS Actor and Head of Producing Company Educated in Denver High School, Colorado School of Mines, and attended Harvard University. First theatrical work with Frederick Warde; acted under management of Wm. A. Brady, New York, 1901. Began work in motion pictures in 191+ under direction of D. W. Griffith. Since 1916 head of own producing company. J. A. BALL-Director, Technical Bureau for ASJociation of Motion Picturl' Producers. B. S., Massachusetts Institute of Technology, 1915; since 1915 engaged in research for perfecting of new color processes for motion pictures; in charge of West Coast operations for the Technicolor Company. J. STUART BLACKTON Motion Picture Director and Producer Educated at Elton House Collegiate School, England, and Col­ lege of the City of New York. In motion picture industry since 1896; associated with Albert E. Smith, 1900, in organiz­ ing Vitagraph Company ( first company to make screen plays) ; founder, 1910, The Motion Picture Magazine; organizer, 1915, and first president, Motion Picture Board of Trade of Amer­ ica ; producer of many photoplays of distinction. FRANK \VOODs-Secrftar)', Acadrmy of Motion Pictllre Arts and Sciencrs. Presi dent, Photoplay Authors League, 191+; President Screen '~hiters Guild of Authors League of America, 1921-22. An originator, 1908, of the continuity form of script writing; in charge of stories and production for Griffith Studio, 1913-17; Chief Supervisor, Famous Players-Lasky, 1917-22 ; independent producer, 1923 -24. ERNST LUBITSCH United Artists Produce r-Director Graduate, High School, Berlin, Germany; became actor under di rection of Max Reinhardt; later undertook the work of director and has directed a series of outstanding film successes. BEN] AMIN Gl.AZER, Supervisor of Sound, Pathe and F.B.O. Studios . Educated Central High School, Philadelphia. Studied la wand admitted to Pennsylvania bar, practicing for seven years. Edi­ torial writer for the Philadelphia Press and composer of plays, having written some of the most successful screen plays. D e­ voted himself to the production of sound, music and dialogue with the films. IRVING THALBEFG M allager, 11[ etro-Goldwyn-fI![ ayer Studios Graduate Brooklyn High School. In business in New York, becoming Secretary to Carl Laemmle; later General Manager, Universal City Studios; and since 1924 in charge of production of Metro-Goldwyn-Mayer Company. 5 Prominent Lecturers in the "INTRODUCTION TO PHOTOPLAY" CEDRIC GIDBONS MILTON SILLS WILLIAM DEMILLE ERNST LUBITSCH DOUGLAS FAIRBANKS FRANK VirOODS BENJAMIN GLAZER M. C . LEVEE EDWIN SCHALLERT CLARA BERANGER COM.]. STUART BLACKTON IRVING THALBERG 6 7 CLARA BERANGER Writer for the Screen B.A., Goucher College, 1927; member Phi Beta Kappa; staff writer for. Famous Players-Lasky Corporation; contributor of stories and articles for magazines; also screen adaptations, original screen stories, stage plays and talking pictures. MILTON SILLS First National Star A. B., University of Chicago, 1900; Fellow in Philosophy, Uni­ versity of Chicago Graduate School. Began actor's career first with Donald Robertson Players; later was leading man in plays for Belasco, Frohman, Brady and Shubert. Began work for the screen in 1914, being successively with the World Films, Goldwyn, Selznick, and Fox, later devoting himself entirely to motion pictures. Now with First National Pictures Company. CEDRIC GIIlIJONS Art Director, 111 etro-Goldwyn-M ayer Educated privately abroad, specializing in study of period fur­ niture, decorations and costumes. Art Director, 1912, with Thomas A. Edison Company. Later with Goldwyn Studio in charge of technical work and settings. \VILLIAM CAMERON MENZIES - -Art Director, United Artists Educated at Dumfries Academy and Hopkins Preparatory School, and the Art Student's League in New York. Commis­ sioned in Navy during World War. After War, with Famous­ Players-Lasky, Mayflower Company, and First National. Designed sets for Thief of Bagdad. M. C. LEVEE General Manager, United Artists Studios Largely self educated; various business activities in Chicago with Fox Film Company; organized studio with Brunton, em­ ploying Dustin Farnum, Mary Pickford and others. Built up United Artists Studios, Inc., well known furniture property business. General Manager, First ational Studios.
Load more

Recommended publications
  • Kubrick Film Streams Supporters Met Op
    Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2008 v2.2 2001: A Space Odyssey 1968 MGM/Photofest Film Screams! October 3 – October 31, 2008 The Cabinet An American Werewolf of Dr. Caligari 1921 in London 1981 Bride of Frankenstein 1935 Evil Dead 2 1987 The Innocents 1961 Eyes Without a Face 1960 Les Diaboliques 1955 The Raven 1963 What better way to celebrate the Halloween and of little worth artistically, that’s hardly the case. The eight films in this month than with a horror series? While other series offer a glimpse of the richness and variety of the genre, in terms of genres, such as musicals and westerns, tend to its history, cultural significance, creative influence, and talent produced. wax and wane in interest over certain periods of Whether deathly terrifying or horribly silly, there is something here for time, horror has maintained a constant presence everyone to enjoy and appreciate. ever since the inception of cinema. And while the — Andrew Bouska, Film Streams Associate Manager and Series Curator genre often bears the stigma of being lowbrow See the reverse side of this newsletter for full calendar of films and dates. Great Directors: Kubrick November 1 – December 11, 2008 2001: A Space Odyssey 1968 Spartacus 1960 Dr. Strangelove 1964 Lolita 1962 The Killing 1956 Barry Lyndon 1975 A Clockwork Orange 1971 Full Metal Jacket 1987 Paths of Glory 1957 Eyes Wide Shut 1999 Almost a decade after his death, the great myth fiction (2001: A SPACE ODYSSEY) to period drama (BARRY LYNDON) to of Stanley Kubrick seems as mysterious as ever.
    [Show full text]
  • PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988
    The Museum Of Modem Art For Immediate Release June 1987 PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988 Marlene Dietrich, William Holden, Barbara Stanwyck, Fred MacMurray, and Mae West are among the stars featured in the exhibition PARAMOUNT PICTURES: 75 YEARS, which opens at The Museum of Modern Art on July 10. The series includes films by such directors as Cecil B. De Mille, Ernst Lubitsch, Francis Coppola, Josef von Sternberg, and Preston Sturges. More than 100 films and an accompanying display of film-still enlargements and original posters trace the seventy-five year history of Paramount through the silent and sound eras. The exhibition begins on Friday, July 10, at 6:00 p.m. with Dorothy Arzner's The Wild Party (1929), madcap silent star Clara Bow's first sound feature, costarring Fredric March. At 2:30 p.m. on the same day, Ernst Lubitsch's ribald musical comedy The Smiling Lieutenant (1931) will be screened, featuring Paramount contract stars Maurice Chevalier, Claudette Colbert, and Miriam Hopkins. Comprised of both familiar classics and obscure features, the series continues in The Roy and Niuta Titus Theaters through January 4, 1988. Paramount Pictures was founded in 1912 by Adolph Zukor, and its first release was the silent Queen Elizabeth, starring Sarah Bernhardt. Among the silent films included in PARAMOUNT PICTURES: 75 YEARS are De Mille's The Squaw Man (1913), The Cheat (1915), and The Ten Commandments (1923); von Sternberg's The Docks of New York (1928), and Erich von Stroheim's The Wedding March (1928). - more - ll West 53 Street.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • 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.
    [Show full text]
  • Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
    BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing.
    [Show full text]
  • Greatest Year with 476 Films Released, and Many of Them Classics, 1939 Is Often Considered the Pinnacle of Hollywood Filmmaking
    The Greatest Year With 476 films released, and many of them classics, 1939 is often considered the pinnacle of Hollywood filmmaking. To celebrate that year’s 75th anniversary, we look back at directors creating some of the high points—from Mounument Valley to Kansas. OVER THE RAINBOW: (opposite) Victor Fleming (holding Toto), Judy Garland and producer Mervyn LeRoy on The Wizard of Oz Munchkinland set on the MGM lot. Fleming was held in high regard by the munchkins because he never raised his voice to them; (above) Annie the elephant shakes a rope bridge as Cary Grant and Sam Jaffe try to cross in George Stevens’ Gunga Din. Filmed in Lone Pine, Calif., the bridge was just eight feet off the ground; a matte painting created the chasm. 54 dga quarterly photos: (Left) AMpAs; (Right) WARneR BRos./eveRett dga quarterly 55 ON THEIR OWN: George Cukor’s reputation as a “woman’s director” was promoted SWEPT AWAY: Victor Fleming (bottom center) directs the scene from Gone s A by MGM after he directed The Women with (left to right) Joan Fontaine, Norma p with the Wind in which Scarlett O’Hara (Vivien Leigh) ascends the staircase at Shearer, Mary Boland and Paulette Goddard. The studio made sure there was not a Twelve Oaks and Rhett Butler (Clark Gable) sees her for the first time. The set single male character in the film, including the extras and the animals. was built on stage 16 at Selznick International Studios in Culver City. ight) AM R M ection; (Botto LL o c ett R ve e eft) L M ection; (Botto LL o c BAL o k M/ g znick/M L e s s A p WAR TIME: William Dieterle (right) directing Juarez, starring Paul Muni (center) CROSS COUNTRY: Cecil B.
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • Jewish Experience on Film an American Overview
    Jewish Experience on Film An American Overview by JOEL ROSENBERG ± OR ONE FAMILIAR WITH THE long history of Jewish sacred texts, it is fair to characterize film as the quintessential profane text. Being tied as it is to the life of industrial science and production, it is the first truly posttraditional art medium — a creature of gears and bolts, of lenses and transparencies, of drives and brakes and projected light, a creature whose life substance is spreadshot onto a vast ocean of screen to display another kind of life entirely: the images of human beings; stories; purported history; myth; philosophy; social conflict; politics; love; war; belief. Movies seem to take place in a domain between matter and spirit, but are, in a sense, dependent on both. Like the Golem — the artificial anthropoid of Jewish folklore, a creature always yearning to rise or reach out beyond its own materiality — film is a machine truly made in the human image: a late-born child of human culture that manifests an inherently stubborn and rebellious nature. It is a being that has suffered, as it were, all the neuroses of its mostly 20th-century rise and flourishing and has shared in all the century's treach- eries. It is in this context above all that we must consider the problematic subject of Jewish experience on film. In academic research, the field of film studies has now blossomed into a richly elaborate body of criticism and theory, although its reigning schools of thought — at present, heavily influenced by Marxism, Lacanian psycho- analysis, and various flavors of deconstruction — have often preferred the fashionable habit of reasoning by decree in place of genuine observation and analysis.
    [Show full text]
  • Stetson Collegiate, Vol. 32, No. 6, October 16, 1923
    University of Central Florida STARS Stetson Collegiate Newspapers and Weeklies of Central Florida 10-16-1923 Stetson Collegiate, Vol. 32, No. 6, October 16, 1923 Stetson University Find similar works at: https://stars.library.ucf.edu/cfm-stetsoncollegiate University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the Newspapers and Weeklies of Central Florida at STARS. It has been accepted for inclusion in Stetson Collegiate by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Stetson University, "Stetson Collegiate, Vol. 32, No. 6, October 16, 1923" (1923). Stetson Collegiate. 183. https://stars.library.ucf.edu/cfm-stetsoncollegiate/183 STETSON COLLEGIATE WEEKLY Official student Publication of John -B. Stetson University VOLUME 32 DELAND, FLORIDA, TUESDAY, OCTOBER 16, 1923. NUMBER 6 KANGAROO COURT PI PHI'S BUSY THIS DR. HlJLLEY SPEAKS STETSON LOSESITO AGAIN CONVENES TRI DELT RUSHING RUSH SEASON; GIRLS BEFORE THE K. KLUB The Old men on tho compus, last PARTY GOES TO SOUTHERN IN LAKELAND week again saw the need of a little Speaking to the Krucible Klub on reminder to the new men that they UP FOR WEEK END last Tuesday night. Dr. Hulley held BY SCORE 14-13 were still Rats and were not as yet LAKELAND S A T the largest attendance of the year allowed to do and say what they Many old Pi Phi's have been back throughout the evening with a lec­ pleased. It seemed, defspite the Marking the close of their 192S / in DeLand for a few days to help on ture on Coal.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]
  • 20Th Anniversary Initiation Banquet ·=- February 1956
    ( LlKA 20th anniversary initiation banquet ·=- february 1956 ALPHA CHAPTER DELTA KAPPA ALPHA 20th ANNIVERSARY INITIATION BANQUET Saturday, February 11, 1956 Biltmore Hotel - Los Angeles PROGRAM Introduction of Guests Barry Kirk Introduction of Honorary and Associate Members - Chris Seiter Introduction of Alumni and Active Members Welcome from the President Daulat Masuda "25 Years of Cinema at SC" Dr. Robert 0. Hall Message from the National President ('Daulat Masuda Initiation Ceremonies (Chris Seiter (Tom Conrad Presentation of Awards Daulat Masuda Introduction of Mr. Williams Daulat Masuda Acceptance Speech Elmo Williams, A.C.E. Intermission Film Showing of SC Cinema Production, THE FACE of LINCOLN Delta Kappa Alpha N a tiona! Honorary Cinema Fraternity SILVER ANNIVERSARY BANQUET honoring MARY PICKFORD and HAROLD LLOYD January 6, 1963 TOWN and GOWN University of Southern California / PROGRAM I. Opening Dr. Norman Topping, President, USC II. Representing DKA and Cinema Dr. Bernard Kantor III. l\!listress of Ceremonies Bette Davis IV. Harold Lloyd interviewed by Steve Allen Delmer Daves Jack Lemmon V. Film clips of Harold Lloyd VI. Adolph Zukor VII. Mary Pickford interviewed by Bette Davis George Cukor Arthur Knight VIII. Film clips of Mary Pickford Piano-Dave Raksin IX. Leonard Firestone, Chairman of USC Board of Trustees Presentation to Mary Pickford and Harold Lloyd X. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mrs. George Axelrod Miss Jeanette MacDonald Mrs. Harry Brand Mrs. Robert Stack George Cukor Miss Barbara Stanwyck Bette Davis Mrs. Norman Taurog Y. Frank Freeman Charles Walters Mrs. Beatrice Greenough Miss Ruth Waterbury l\llrs. Leiland Atherton Irish Mrs.
    [Show full text]