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Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
FROM HERE to ETERNITY / 1953 (Até À Eternidade)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA E A VIDA CONTINUA 16 de julho de 2020 FROM HERE TO ETERNITY / 1953 (Até à Eternidade) um filme de Fred Zinnemann Realização: Fred Zinnemann / Argumento: Daniel Taradash, segundo o romance homónimo de James Jones / Fotografia: Burnett Guffey / Montagem: William A. Lyon / Som: John P. Livadary / Direcção Artística: Cary Odell / Música: George Dunning / Interpretação: Burt Lancaster (Sargento Milton Warden), Montgomery Clift (Soldado Robert E. Lee “Prew” Prewitt), Frank Sinatra (Angelo Maggio), Donna Reed (Alma”Lorene”), Philip Ober (Capitão Dana Holmes), Ernest Borgnine (Sargento “Fatso” Judson), Jack Warden (Cabo Buskley), John Dennis (Sarg. Ike Galovitch), Merle Travis (Sal Anderson), Tim Ryan (Sarg. Pete Karelsen), Arthur Keegan (Treadwell), Barbara Morrison (Mrs. Kipfer), Jean Willes (Annette), Claude Akins (Sarg. Baldy Dhom), Robert Karnes (Sarg. Trup Thornill), Robert Wilke (Sarg. Henderson), Douglas Henderson (Cabo Champ Wilson), George Reeves (Sarg. Mylon Stark), Don Dubbins (Friday Clark), John Cason (Cabo Paluso), Kristine Miller (Georgette), John Bryant (Com. Ross). Produção: Buddy Adler, para a Columbia / Produtor Executivo: Harry Cohn / Cópia: 35mm, preto e branco, legendada em espanhol e eletronicamente em português, 118 minutos / Estreia Mundial: Agosto de 1953 / Estreia em Portugal: Eden e Império, a 15 de Novembro de 1954 / Reposição: S. Luis e Alvalade, a 2o de Setembro de 1968. _________________________ From Here to Eternity foi um “caso”. Em primeiro lugar pelo número de Oscars que conquistou, oito, o que fez dele , até 1958, o segundo filme mais premiado de sempre, depois de Gone With the Wind. Depois pelos problemas que teve na produção e o impacto no futuro imediato. Se não é um grande filme é por outras razões. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
Hollywood Stars and Their Army Service from the Spanish American
James E. Wise, Paul W. Wilderson. Stars in Khaki: Movie Actors in the Army and Air Services. Annapolis: Naval Institute Press, 2000. xi + 244 pp. $24.95, cloth, ISBN 978-1-55750-958-1. Reviewed by Charles C. Kolb Published on H-PCAACA (November, 2000) Hollywood Stars and their Army Service from In Stars in Blue we learned about Wayne the Spanish American War to Vietnam Morris, Douglas Fairbanks, Jr., Henry Fonda, This splendid book is the third and fnal vol‐ Humphrey Bogart, Paul Newman, Aldo Ray, ume in historian-biographer Wise's trilogy and it Ernest Borgnine, Robert Montgomery, Cesar makes a ftting companion to its two illustrious Romero, and dozens of other flm stars. With the predecessors. In 1997 Wise and his co-author Ann sequel, Stars in the Corps , we discovered the con‐ Rehill wrote Stars in Blue: Movie Actors in Ameri‐ tributions made by more than 30 motion picture ca's Sea Services in which flm actors who served stars including Sterling Hayden, Tyrone Power, in the U.S. Navy, Naval Reserve, Coast Guard, or Steve McQueen, Lee Marvin, Gene Hackman, Coast Guard Reserve from 1920 through the Kore‐ George C. Scott, Harvey Keitel, Brian Dennehy, an War are profiled. Wise and Rehill also au‐ Hugh O'Brien, Ed McMahon, and Dale Dye. As in thored Stars in the Corps: Movie Actors in the these two volumes, the emphasis in Stars in Khaki United States Marines (1999) which covers the is on World War II. Many of the men who served same period but emphasizes Marines in the Pacif‐ in the U.S. -
God Loves Uganda | the Hooping Life | Tim’S Vermeer | the Address | Life According to Sam | the Story of the Jews Scene & He D
July-August 2014 VOL. 29 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 4 IN THIS ISSUE God Loves Uganda | The Hooping Life | Tim’s Vermeer | The Address | Life According to Sam | The Story of the Jews scene & he d LET BAKER & TAYLOR’S SCENE & HEARD TEAM HELP MAKE BUILDING AND MAINTAINING YOUR A/V COLLECTION EASIER WITH OUR PROFESSIONAL DIGITAL MEDIA PROCESSING (DMP) SERVICES! DMP off s a v iety of key benefi ts and feat es including: ■ Digitally reproduced original cover artwork ■ Personalized library contact information ■ Detailed content checklists and messaging ■ Circulation-tough polyvinyl CD and DVD cases ■ Single, double, multiple and locking security cases available ■ Large assortment of customized, embedded labels — genre, spine and more! To learn about DMP and other A/V products and services, contact your Sales Consultant today to discuss a custom-tailored solution for all your needs! 800-775-2600 x2050 [email protected] www.baker-taylor.com STAY CONNECTED: Spotlight Review God Loves Uganda streets, LGBT activists identified in newspa- HHH1/2 pers, and finally to a killing. Williams seems (2013) 83 min. DVD: to be everywhere with his camera (although $24.95. First Run he also makes assiduous use of archival and Publisher/Editor: Randy Pitman Features (avail. from other material): on buses with young Ameri- most distributors). Closed can ministers in Uganda, in parliamentary Associate Editor: Jazza Williams-Wood captioned. session, and at town hall-like meetings where Copy Editor: Kathleen L. Florio Stunning in its rev- gay pornography is shown (even to children) elations about the ways Editorial Assistant: Chris Pitman with the intent of fomenting intolerance. -
Johnson County Unclaimed Funds As of 7/6/2018
•Notice of Unclaimed Property •By Kathy Blackwell •Johnson County Treasurer • •This notice is provided in accordance with Section 76.201 of the Texas Property Code regarding •unclaimed funds. Unclaimed funds, referenced by the names on the following list, are in the custody of •Kathy Blackwell, Johnson County Treasurer. Only those names with property valued at $100.00 or less, are included in this list. •Any person possessing a legal or beneficial interest in the reported funds may contact the Johnson •County Treasurer's Office at 817-556-6340 to obtain information about the amount of the funds and the •procedure to make a claim to receive the funds. The unclaimed property is presumed abandoned and •subject to Chapter 76 of the "Texas Property Code." •All other claims for property valued over $100.00 should be made to the Texas Unclaimed Property Department in the State Comptrollers Office. •800-321-2274 •or online at •www.window.state.tx.us JOHNSON COUNTY UNCLAIMED FUNDS AS OF 7/6/2018 LAST NAME: FIRST NAME: ADDRESS City,State, ZIP AMOUNT: DATE ON LIST Abdelkhalez Jalael Sabri 216 Cr 805A Cleburne Tx 76031 $ 16.42 7/8/2019 Abney John T 229 Mountain Air Joshua, Tx 76058 $ 10.00 6/23/2017 Aboites-Baylon German 229 Mountain Aire Cleburne, Tx 76031 $ 26.00 6/23/2017 Aboulhosn Joe M Ii 2005 Irma St Tucson, Az 85712 $ 2.32 6/23/2017 Abrego Sylvester C 5800 Cr 1012 Joshua, Tx 76058 $ 2.27 6/23/2017 Abundis Rosa 3319 Nw Loraine Cleburne, Tx 76031 $ 6.82 6/23/2017 Abunijmeh Yousef A 1908 Fm 3048 Godley, Tx 76044 $ 37.00 6/23/2017 Acevedo Roel 1720 John West Rd 1108 Dallas Tx 75228 $ 0.16 6/23/2017 Acosta Allysan S 4208 Broken Arrow Rd Ft. -
The Zoomar Lens J
tint, or half shadow, and the rest may go too clearly defined. A net over a certain '., black. This · postulate we may use as a portion of the camera lens might do it. ' medium. Varying the proportions will Perhaps we might employ the vignette The Zoomar Lens J control the effects we may be creating. for only a portion of the scene. Rem The Handling of Quality Elements brandt used this aid extensively. Leav In dealing with shadow as an element ing something to the imagination, he G. Back, M. E., Sc. D. the fact found, gave his pictures a quality few ' By Fran~ of our scene, we must recognize that irr interior motion pictures we build artists were able to duplicate in paint (Research and Development Laboratory, New York) our scene from a completely unlighted ing. back ground. This is an opposite method 4. Repose to that employed in most of the graphic Another element which promotes emo Distance Range: 8 ft. to inf. arts. It resembles wood cuts and their tion is that of repose. The word sug HE Zoomar varifocal lens was for 35 mm. film is still in the labora 120 mm. - very ( Close-up Attachment for Wide-Angle manufacture; we carve out of blackness gests good taste. It suggests the removal first demonstrated in public at the tory stage but will be available It demands that T Front-Lens permits shooting at any with our spotlights those parts of the of too sharp contrast. Spring Convention of the S.M.P.E. soon. ·, specified distance· down to 2 inches, scene from which we derive an exposure. -
I|)I®Nul| Color
Elvis Presley’s "G. I. Blues” are “cold bowl,” is a chilled Ger- THE STAR the three sets of boy twins who EVENING I man fruit soup. "It can be “work” in the baby-sitting Thursday, June 9, 1960 Amusements B-15 made with scenes. They get $2O a day for any fruit,” says ¦M HOLLYWOOD two DINING OUT Hans of the Old hours maximum toil. Their Lichtenstein Brook Farm, 7101 Brookville between men and women diners: mothers must be on the set at Europe, "but we use sour road. Chevy Chase. Md. Mr. Women are more all also a compfi- times, registered EMERSON BEAUCHAMP cherries, along with Burgundy By SHEILAH By Mills prefers steak or Men seldom GRAHAM nurse. prime i mentary. com- wine, pearl barley, and maca- ribs, and Mr. Oathings is par- ment. Producer Sam is Speigel roon sprinkled on top.” tial to steak. country-style Women like shrimp cocktails. k iM— ¦¦¦ for several hundred looking Men prefer clams. racing camels. Needs them for Come Avoid the Rush For the Record ... Vlhat Like Early, They Women are more likely to Innocent as a Babe»e his “Lawrence of Arabia” with The Two Arkansas Democrats, George Comert of the St. order varied dishes (roast beef, Marlon Brando. But someone Presidential Arms, 1320 served something else. Diners Mills and HOLLYWOOD, (NANA). —I we£ks That's Representatives Ga- Regis, 2218 Wisconsin avenue i chops, casseroles). Most men engagement.” a was telling me yesterday that G street N.W., is getting ready from out of town, he says, al- things, are frequent diners at N.W., observes these differences i order steak. -
Dan Duryea Page 1 Of6
Dan Duryea Page 1 of6 Dan Duryea - Charming Villain By Frank Dolven Dan Duryea was typecast by his own skill. He was almost too good at creating disturbing portraits of pathological villains, especially in film noir roles. In real life, he was an old-fashioned family man, the opposite of his screen persona. He was born in White Plains, New York, on January 23, 1907, and was educated at Cornell University, Ithaca, New York. In the 1930s he worked in advertising before finding his true calling. He made his acting debut on Broadway in Sidney Kingsley's Dead End . He won critical acclaim for his role as the weakling "Leo Hubbard" in Lillian Hellman's The Little Foxes on Broadway in 1939. Hollywood scouts took notice of his remarkable performance. Soon he was playing "Leo" in William Wyler's film version of the play. With his slicked-back blonde hair and malicious smile, he became the premier louse of the movies. He developed a repertoire of understated body language with a shrug of the shoulders, a slight raising of the eyebrow, a twitch of the mouth, and a subtle "take-it-or- leave-it-or-go-to-hell" movement of the hand. Duryea became a master, playing to the camera, "as he wielded his reedy, high voice like an irritating, cutting scimitar," one critic wrote. He left many gems among performances in over 70 films spanning 47 years. Film buffs especially remember him for his odious treatment of women. In an interview with Hedda Hopper in the early '50s, Duryea gave a very interesting answer when Miss Hopper asked how he prepared for roles. -
Robert C. Schmitt
ROBERT C. SCHMITT Hawai'i in the Movies, 1898—1959, Part IV THIS RESEARCH NOTE further amends the lists of feature films made in or about Hawai'i previously published by the Hawaiian His- torical Society. In 1988, the Society issued a monograph describing 120 such motion pictures produced prior to statehood.1 Three years later an addendum listed twelve others, plus further details about three of the films previously cited.2 Three others were added in 1992.3 Here are twenty-six more that have come to the author's attention since then, plus new material on one noted earlier. 1933 Lucky Devils RKO Radio. 3 Feb. 1933; Hon., NA. Sound, b&w, 60, 64, or 70 min. Dir., Ralph Ince. With Bill Boyd, Dorothy Wilson, William Gargan. Adventure-drama about Hollywood stuntmen. Halfway through the picture, the hero marries and honeymoons in Hawai'i.4 !934 Song of the Islands Palmer Miller and Curtis Nagel for the Hawaii Tourist Bureau. 1934; Hon., NA. Sound, Vericolor (an early two-color process), 40 min. Robert C. Schmitt, an associate editor of the Journal and a frequent contributor to its pages, is a retired statistician for the Hawai'i State Department of Business, Economic Develop- ment and Tourism. The Hawaiian Journal of History, vol. 30 (1996) 211 2 12 THE HAWAIIAN JOURNAL OF HISTORY Dir., NA. With Pualani Mossman, Sam Kapu, Ray Kinney, Don Blanding. A travelogue about the Islands, made for the Hawaii Tourist Bureau. The same title was used in a 1942 Betty Grable musical. Four ten- minute travelogues, one each for the major islands, were produced by the same group and also released in 1934. -
Once Upon a Time in Hollywood
RICK DALTON—Once he had his own TV series, but now Rick’s a washed-up villain-of- theweek drowning his sorrows in whiskey sours. Will a phone call from Rome save his fate or seal it? CLIFF BOOTH—Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have gotten away with murder. SHARON TATE—She left Texas to chase a movie-star dream and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills. CHARLES MANSON—The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ’n’ roll star. HOLLYWOOD 1969— YOU SHOULDA BEEN THERE COLUMBIA PICTURES PRESENTS A FILM BY QUENTIN TARANTINO LEONARDO DICAPRIO BRAD PITT MARGOT ROBBIE IN ONCE UPON A TIME IN HOLLYWOOD MARGARET QUALLEY TIMOTHY OLYPHANT JULIA BUTTERS DAKOTA FANNING BRUCE DERN AND AL PACINO TECHNICOLOR ® PRODUCED BY DAVID HEYMAN SHANNON MCINTOSH QUENTIN TARANTINO WRITTEN AND DIRECTED BY QUENTIN TARANTINO Dedication This book is dedicated to My Wife DANIELLA and My Son LEO Thanks for creating a happy home from which to write in. ALSO To all the actor Old Timers who told me tremendous stories about Hollywood in this period. And it’s because of them that you hold this book in your hands now. Bruce Dern * David Carradine * Burt Reynolds Robert Blake * Michael Parks * Robert Forster and especially Kurt Russell Contents Cover Title Page Dedication Chapter One: “Call Me Marvin” Chapter Two: “I Am Curious (Cliff)” Chapter Three: Cielo Drive Chapter Four: Brandy, -
Proquest Dissertations
Love and Cinema- Cinephilia, Style, and the Films of Quentin Tarantino by Matthew Harris A (thesis) submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario Tuesday, January 4 2011, Matthew Harris Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-79566-8 Our file Notre reference ISBN: 978-0-494-79566-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.