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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
The Role of Irish-Language Film in Irish National Cinema Heather
Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall A Thesis in the PhD Humanities Program Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada August 2012 © Heather Macdougall, 2012 ABSTRACT Finding a Voice: The Role of Irish-Language Film in Irish National Cinema Heather Macdougall, Ph.D. Concordia University, 2012 This dissertation investigates the history of film production in the minority language of Irish Gaelic. The objective is to determine what this history reveals about the changing roles of both the national language and national cinema in Ireland. The study of Irish- language film provides an illustrative and significant example of the participation of a minority perspective within a small national cinema. It is also illustrates the potential role of cinema in language maintenance and revitalization. Research is focused on policies and practices of filmmaking, with additional consideration given to film distribution, exhibition, and reception. Furthermore, films are analysed based on the strategies used by filmmakers to integrate the traditional Irish language with the modern medium of film, as well as their motivations for doing so. Research methods included archival work, textual analysis, personal interviews, and review of scholarly, popular, and trade publications. Case studies are offered on three movements in Irish-language film. First, the Irish- language organization Gael Linn produced documentaries in the 1950s and 1960s that promoted a strongly nationalist version of Irish history while also exacerbating the view of Irish as a “private discourse” of nationalism. Second, independent filmmaker Bob Quinn operated in the Irish-speaking area of Connemara in the 1970s; his fiction films from that era situated the regional affiliations of the language within the national context. -
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. -
Music Generation Enters Phase Two
SPRING/SUMMER 2017 PROGRESS THROUGH PHILANTHROPY Music Generation Enters Phase Two WWW.IRELANDFUNDS.ORG At the heart of business in Ireland © 2016 KPMG, an Irish partnership 12 56 3 Message from the Chairman 24 Irish Wheelchair Association 5 Message from the Worldwide President & CEO 28 ReCreate 6 Your Philanthropic Impact - Thank You! 32 The Spectrum Centre 10 The Ireland Funds 2016 Flagship Grants 36 Gaisce 14 Music Generation 40 Inner City Enterprise 18 The Irish Film Institute 46 Anam Cara contents 22 Youth Initiatives connect 2016 | 1 48 The Ireland Funds Young Leaders - Membership Opportunities 50 The Ireland Funds Young Leaders – Global 5K 54 The Ireland Funds Golf Events 56 Events Around the World 56 100 The Ireland Funds Heritage Society 102 Board of Directors 104 Contacts Read Connect magazine online at www.irelandfunds.org 50 10 connect 2017 • 2 ConnectSPRING / SUMMER / 2017 Dear Fellow Donors, As I have the privilege of beginning my second term, I do so with great enthusiasm. In 2017 we continue to see economic improvements in Ireland, North and South. Unemployment is falling, new businesses are being created and a renewed sense of confidence is establishing itself after the ravages of the Great Recession. However, we cannot afford to overlook the considerable challenges Ireland, North and South, could face, not least as a result of Brexit. Despite the progress that has been made, many sectors of society remain untouched by the recovery and many others are still feeling the wounds of such a difficult period. To help strengthen society, the Irish not-for-profit sector plays a critical role. -
Chicago Tribune
Chicago Tribune September 2, 2011 http://articles.chicagotribune.com/2011-09-02/entertainment/ct-mov-0902-premier-attraction- 20110903_1_ucla-festival-film-preservation-national-film-registry A salute to our cinematic history, and its saviors UCLA archive that helps rescue old films makes Siskel stop Michael Phillips | Movie critic In this drastically evolving time, when digital cinema replaces actual, tangible strips of film before we can even assess the revolution's ramifications and potential losses, the UCLA Film and Television Archive performs a crucial service for our shared American history. The latest annual UCLA Festival of Preservation is now touring the country. The Siskel Film Center is one of its whistle-stops. And the new lineup, through Oct. 5, spans a mind-altering range of material, from ripe, rare silent dramas to a Duke Ellington "soundie" to Buster Keaton doingSamuel Beckett. Silents first. A double bill of rare features screens Monday. A bizarre 1926 mix of romantic comedy and Yellow Peril melodrama, director Paul Sloane's "Eve's Leaves" (3 p.m. Monday) stars easygoing Leatrice Joy as a sea captain's daughter brought up, more or less and mostly at sea, as a short- haired, trousers-sporting boy. Looking for love (or "vibrations," as they're called in a romance guide lent to her by the ship's cook) the young woman begins vibrating in the vicinity of an American tourist (William Boyd, a right simp). But a Fu Manchu-school Chinese pirate (Walter Long) wants the newly fragrant and gussied-up delicacy for himself. "Eve's Leaves" is not the film to consult for enlightened racial attitudes. -
The Picture Show Annual (1928)
Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton. -
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr. -
ETD Template
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt “The World Goes One Way and We Go Another”: Movement, Migration, and Myths of Irish Cinema by Dana C. Och B.A. in English, University of Pittsburgh, 1996 M.A. in English, University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Dana C. Och It was defended on 8-31-06 and approved by Dr. Nancy Condee Dr. Adam Lowenstein Dr. Colin MacCabe Dr. Marcia Landy Dissertation Director ii Copyright © by Dana C. Och 2006 iii “The World Goes One Way and We Go Another”: Movement, Migration and Myths of Irish Cinema Dana C. Och, Ph.D. University of Pittsburgh, 2006 The dissertation considers Irish films through the valence of movement and migration to conceptualize a cinema that can account for how films function locally and transnationally. I consider various forms of migration in films produced in Ireland to interrogate how identity and the nation are presented. Considering forms of migration opens a different approach to the films that enables questioning of the myths of the nation-state within globalized capital and culture. In Ireland, the land has given shape to the physical boundaries of imagined identity; land is understood as a material trace denoting a linear history of invasion, conquest, and ultimately independence – an evolution from colonial oppression to postcolonial identity. -
5S5w.Fr That the Old Man Comes Home Drunk
Crime Just Does Not Pay, Engineering Prepared Him Even When It’s Play-Acting For a Directing Career Bette Davis and Ida Lupino Find Veteran Clarence Brown, Educated Whalebone Corsets Make Them In Scientific Fields, Turned Suffer for Their Film Sins To Films Before Hollywood HOLLYWOOD. Hale, By Mary Some of Hollywood's directors used to be actors; some came to Associated Press StsII Writer. Hollywood from the field of business, and a fpw were writers. Clarence HOLLYWOOD. Brown, however, has the distinction of making the broad jump to the the care- Bette Davis committed her third movie murder the other day, and movies from the field of engineering. Most of those who follow of his stories feel that some company lost then calmly ate a chocolate fudge sundae. fully planned working pattern a very engineer in the transition. But strangling a woman with a bell rope recently put Ida Lupino good The director of the new Clark Gable-Rosalind Russell co-starring to bed with a bad case of Jitters. “They Met in Bombay,” had These two film meanies are reducing the population for handsome picture, his mind set strictly on problems oi throw but aside from movie crime doesn’t wood, today, is not a stone's salaries, naturally; money, they say and when he took chemistry physics away from the studio nself.” pay either. Whalebone corsets make#- his at the degree, witl\high rating, It was shortly aLer the comple- them suffer for their sins. the pointed out. "Nobody is, if you University of Tennessee. But tion of “The Goose Woman that “And I mean suffer!” said Bette. -
Directory of Local Studies Articles and Book Chapters in Dún Laoghaire
Directory of Local Studies Articles and Book Chapters in Dún Laoghaire-Rathdown Compiled by: Nigel Curtin, Local Studies Librarian, dlr Library Service This publication lists articles, book chapters and websites published on subjects relating to the county of Dún Laoghaire-Rathdown. It is based primarily on material available in dlr Libraries Local Studies Collection. It does not represent an exhaustive listing but should be considered as a snapshot of material identified by the Local Studies Librarian from 2014 to 2021. Its purpose is to assist the researcher in identifying topics of interest from these resources in the Collection. A wide ranging list of monographs on the topics covered in the Directory can also be found by searching dlr Libraries online catalogue at https://libraries.dlrcoco.ie/ Directory of Local Studies Articles and Book Chapters in Dún Laoghaire-Rathdown dlr Local Studies, 5th Floor dlr LexIcon, Haigh Terrace, First published 2021 by Dún Laoghaire-Rathdown County Council Moran Park, Dún Laoghaire, Co. Dublin E: [email protected] T: 01 280 1147 Compiled by Nigel Curtin W: https://libraries.dlrcoco.ie ISBN 978-0-9956091-3-6 Book and cover design by Olivia Hearne, Concept 2 Print Printed and bound by Concept 2 Print dlrlibraries @dlr_libraries Libraries.dlr https://bit.ly/3up3Cy0 3 Contents PAGE Journal Articles 5 Book Chapters 307 Web Published 391 Reports, Archival Material, 485 Unpublished Papers, Manuscripts, etc. Temporary bridge over Marine Road, Kingstown, 31 August 1906. The bridge connected Town Hall with the Pavilion on the occasion of the Atlantic 3 Fleet Ball. 5 Directory of Dún Laoghaire-Rathdown Local Studies YEAR BOOK TITLE CHAPTER or reference AUTHOR WEBLINKS or notes Journal Articles Bullock Harbour, 1860s. -
A Survey of American Critical Reaction to the Film Career of Clarence Brown
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1973 A Survey of American Critical Reaction to the Film Career of Clarence Brown Deborah L. Oliver University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Theatre and Performance Studies Commons Recommended Citation Oliver, Deborah L., "A Survey of American Critical Reaction to the Film Career of Clarence Brown. " Master's Thesis, University of Tennessee, 1973. https://trace.tennessee.edu/utk_gradthes/2913 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Deborah L. Oliver entitled "A Survey of American Critical Reaction to the Film Career of Clarence Brown." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in Theatre. John L. Jellicorse, Major Professor We have read this thesis and recommend its acceptance: G. Allen Yeomans, Robert W. Glenn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) July 31, 1973 To the Graduate Council: I am submitting herewith a thesis written by Deborah L. -
THE SIGNAL TOWER Distribuidora: Alpha Video / Alpha Home En- Tertainment, «Silent Classics Collection» Zona: 0 Contenido: Un D
THE SIGNAL TOWER la enorme generosidad del historiador, de la que Distribuidora: Alpha Video / Alpha Home En- tenemos constancia personal, no nos extraña en tertainment, «Silent Classics Collection» absoluto que esto haya ocurrido. Es decir, que Zona: 0 prestara su máster positivo de The Signal Tower Contenido: un disco y alguien lo copiara, pasando a ser comerciali- Formato de imagen: 1.33:1 zado después por la mencionada distribuidora, Audio: acompañamiento musical orquestal consagrada al lanzamiento de films de bajo pre- Intertítulos: inglés supuesto y de terror. Precio: 5,98 $ No obstante, vayamos por partes. The Signal DOI: https://doi.org/10.15366/secuencias2017.45 Tower fue una película perdida durante décadas —hasta 1987—. En ese año, David W. Packard, presidente de Stanford Theatre Foundation (Palo Alto, California), adquirió unos dos mil títulos si- lentes de la John Hampton Collection, entre los que aparecieron copias en 16 mm sobre soporte de acetato de las cuatro últimas películas (de un total de cinco) de Clarence Brown en Universal: The Signal Tower (dos ejemplares), Butterfly (1924) —hasta entonces también desaparecida—, Smouldering Fires (1925) y The Goose Woman (1925). Conviene apuntar que los negativos ori- ginales en 35 mm de estos films no se conservan, dado que Universal destruyó deliberadamente casi toda su biblioteca silente en diversas fases que comenzaron en 1948 y continuaron en 1956 Se comercializa por primera vez un título inédito, y 1961. Por ello, han llegado hasta nosotros a tra- una auténtica rareza desconocidísima