National Register of Historic Places Continuation Sheet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Shakespeare on Screen a Century of Film and Television
A History of Shakespeare on Screen a century of film and television Kenneth S. Rothwell published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Kenneth S. Rothwell 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Reprinted 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in Palatino A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Rothwell, Kenneth S. (Kenneth Sprague) A history of Shakespeare on screen: a century of film and television / Kenneth S. Rothwell. p. cm Includes bibliograhical references and index. isbn 0 521 59404 9 (hardback) 1. Shakespeare, William, 1564–1616 – Film and video adaptations. 2. English drama – Film and video adaptations. 3. Motion picture plays – Technique. I. Title. pr3093.r67 1999 791.43 6–dc21 98–50547 cip ISBN 0521 59404 9 hardback – contents – List of illustrations ix Preface xi Acknowledgments xiii List of abbreviations xiv 1 Shakespeare in silence: from stage to screen 1 2 Hollywood’s four seasons -
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. -
Hollywood Cinema Walter C
Southern Illinois University Carbondale OpenSIUC Publications Department of Cinema and Photography 2006 Hollywood Cinema Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "Hollywood Cinema." The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP. (Jan 2006): 374-391. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Publications by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. “Hollywood Cinema” By Walter Metz Published in: The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP, 2006. 374-391. Hollywood, soon to become the United States’ national film industry, was founded in the early teens by a group of film companies which came to Los Angeles at first to escape the winter conditions of their New York- and Chicago-based production locations. However, the advantages of production in southern California—particularly the varied landscapes in the region crucial for exterior, on-location photography—soon made Hollywood the dominant film production center in the country.i Hollywood, of course, is not synonymous with filmmaking in the United States. Before the early 1910s, American filmmaking was mostly New York-based, and specialized in the production of short films (circa 1909, a one-reel short, or approximately 10 minutes). At the time, French film companies dominated global film distribution, and it was more likely that one would see a French film in the United States than an American-produced one. -
The Loeb Firm and the Origins of Entertainment Law Practice in Los
1 3 5 Th e e lo B fir M And the Origins of Entertainment Law Practice in Los Angeles, 1908–1940 m o lly SelV i n * I � Introduction he story of how Edwin Loeb got his start as an entertainment lawyer, T like many tales told of the studio moguls who became his clients and poker partners, has multiple versions. One account pins Edwin’s first entertainment client as “Colonel” William N. Selig, an ex-sideshow operator who turned to slapstick comedies, min- strel-themed shows and westerns. In 1890, Selig moved his operation from Chicago to what became the Echo Park neighborhood of Los Angeles and began making movies, often featuring his growing collection of exotic ani- mals. According to a former Loeb & Loeb partner, Selig retained Edwin in 1914 or 1915 to resolve some of his legal problems after meeting him at * Research Fellow, Stanford Law School. Ph.D., Legal History, UC San Diego. I am tremendously grateful to former Loeb & Loeb partners Howard Friedman and Rob- ert Holtzman for sharing their memories and documents and for commenting on an earlier draft of this paper. Cameron Norris (J.D. 2011, Southwestern) offered excellent research assistance at the start of this project, and my former Southwestern colleague Professor Kelly Strader also kindly provided helpful comments on the draft. Finally, I particularly thank Bryant Garth, former dean of Southwestern Law School, for encour- aging me in this project and for the summer funding that enabled me to start. 1 3 6 c a lifornia l e g a l H i S t o ry ✯ Volume 10, 2015 a social function. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Read This Issue
Look to the rock from which you were hewn Vol. 25, No. 4, Year-End 2001 chicago jewish historical society chicago jewish history Save the Date! Sunday, November 18: Adele Hast to Speak on Women Who Helped Build Chicago At the November 18 Open Meeting of the Society, Past President Dr. Adele Hast will speak on Women Building Chicago: 1790-1990, the newly published biographical dictionary she edited with Rima Lunin Schultz. Of the over 400 individual entries in the book, forty are Jewish women, and Dr. Hast will give special attention to them. The program will begin at 2:00 p.m., after a social period with refreshments at 1:30 p.m., at Temple Sholom, 3480 North Lake Shore Drive, Chicago. Admission is free and open to the public. Adele Hast is a historian, editor, and author of Rose Haas Alschuler. several books. She is Scholar in Residence at the Chicago Jewish Archives. Newberry Library and a member of the Academic continued on page 3 Extra! Roosevelt IN THIS ISSUE Esther Weinshenker Natkin, High Alums to 60th Anniversary of the 1907. Chicago Jewish Archives. George Washington, Address Nov. 18 Robert Morris and Haym Open Meeting Salomon Monument “Go, Rough Riders!” Roosevelt Sidney Sorkin: Reel alumni are urged to attend the Men––Chicago’s Jewish meeting (and even sing their Fight Movie Exhibitors Song) at a brief reunion to be held in addition to Adele Hast’s talk. Jewish Book Month: Retired Illinois Supreme Court Suggested Reading Justice Seymour Simon and retired Roosevelt teacher and basketball CJHS Summer Tours 2001: coach Manny Weincord, both Warm Recollections alumni of Roosevelt, will reminisce about Jewish life at their school and Myron Fox: A Jewish Family Sadie American, 1924. -
The Political History of Classical Hollywood: Moguls, Liberals and Radicals in The
The political history of Classical Hollywood: moguls, liberals and radicals in the 1930s Professor Mark Wheeler, London Metropolitan University Introduction Hollywood’s relationship with the political elite in the Depression reflected the trends which defined the USA’s affairs in the interwar years. For the moguls mixing with the powerful indicated their acceptance by America’s elites who had scorned them as vulgar hucksters due to their Jewish and show business backgrounds. They could achieve social recognition by demonstrating a commitment to conservative principles and supported the Republican Party. However, MGM’s Louis B. Mayer held deep right-wing convictions and became the vice-chairman of the Southern Californian Republican Party. He formed alliances with President Herbert Hoover and the right-wing press magnate William Randolph Hearst. Along with Hearst, Will Hays and an array of Californian business forces, ‘Louie Be’ and MGM’s Production Chief Irving Thalberg led a propaganda campaign against Upton Sinclair’s End Poverty in California (EPIC) gubernatorial election crusade in 1934. This form of ‘mogul politics’ was characterized by the instincts of its authors: hardness, shrewdness, autocracy and coercion. 1 In response to the mogul’s mercurial values, the Hollywood community pursued a significant degree of liberal and populist political activism, along with a growing radicalism among writers, directors and stars. For instance, James Cagney and Charlie Chaplin supported Sinclair’s EPIC campaign by attending meetings and collecting monies. Their actions reflected the economic, social and political conditions of the era, notably the collapse of US capitalism with the Great Depression, the New Deal, the establishment of trade unions, and the emigration of European political refugees due to Nazism. -
Camera (1920-1922)
7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America. -
17 Nov Sydney / 23
Program Festival 2019 Sydney / 23 Oct — 21 Nov Melbourne / 24 Oct — 20 Nov Brisbane / 7 Nov — 17 Nov, Canberra / 7 Nov — 17 Nov Nov 17 — Nov 7 / Canberra Nov, 17 — Nov 7 / Brisbane Perth / 6 Nov — 17 Nov 17 — Nov 6 / Perth SPONSORS, PARTNERS & FRIENDS OF JIFF — CHAI SPONSORS — SILVER SPONSORS — BRONZE SPONSORS — Sponsorship & advertising enquiries [email protected] 2 COVER Top: My Name is Sara (page 33); Bottom: The Tobacconist (page 43). SPONSORS, PARTNERS & FRIENDS OF JIFF — MEDIA PARTNERS — CULTURAL & PROGRAMMING PARTNERS — FRIENDS OF JIFF — Abraham Australian Migration Noah’s Creative Juices A.I.S. Insurance Peter Berkowitz Anonymous Phil and Sue Lewis Anonymous Project Accounting Australia Arnold Bloch Leibler PSN Family Charitable Trust Connect Plus Property Solution Rampersand (Dapal) Escala Partners See-Saw Films Fraid Family Shadowlane Golden Sheaf Hotel Sharon & Gary Hendler Ian Sharp Jewellery The Caulfield Judy Becher The Choc Top Icecream Company Lauren and Bruce Fink The Pacific Group Leo & Mina Fink Fund Viv and Phil Green Milne Agrigroup Westfield Bondi Junction NEXA Wolanski Foundation 3 The 2019 Jewish International Film Festival CONTENTS — Highlight Events . 6 Films (alphabetical order). 8 Melbourne Schedule ���������������������������������������������������������������������������������������������������������������������������������������������50 Melbourne Events . 54 Sydney Schedule . 56 Sydney Events ���������������������������������������������������������������������������������������������������������������������������������������������������������58 -
Iraq War Documentaries in the Online Public Sphere
Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ................................................................................................................... -
Final Arguments to Save Hollywood Bowl Submitted by Robert W
The publication of Hollywood Heritage, a non-profit organization dedicated to the pres- ervation of Hollywood through its architecture and the history of the Summer 2002 www.hollywoodheritage.org Volume 21, Number 2 motion picture industry. Lawsuit Update Final Arguments to Save Hollywood Bowl Submitted By Robert W. Nudelman historic 1929 orchestra shell (the lic ownership (as well as devastat- On June 3, Hollywood attorney newsletter is also available on the ing many safeguards for parks, Lawrence Teeter filed our response web site). Our latest response tar- open spaces, impacts from large to strongly refute the arguments of geted several areas. This has been developments and other quality of the Los Angeles Philharmonic As- done to both protect the shell as life issues protected under CEQA). sociation (LAPA) and Los Angeles well as to stop the County from Highlights of our response in- County (defendants) in the State of gutting the protective status his- clude a detailed breakdown and California Court of Appeals. The toric structures have in California rebuttal of the County and LAPA’s document is available on our web under the California Environmental arguments that only a “new shell” site. Quality Act (CEQA). will make good music possible at Hollywood Heritage’s last news- Such legal precedent as attempted the Bowl. This was used as the letter outlined several of the Coun- here to circumvent CEQA would “Statement of Overriding Consid- ty’s and the LAPA’s arguments to endanger thousands of historic erations” (SOC), which is the sole proceed with the demolition of the structures in both private and pub- legal reason the defendants adopted continued on page 87 years later ABC Television Center Studio Lot is Reborn By Marc Wanamaker original 1915 buildings that still ex- he old ABC Television Center ist and are considered historic studio Tlot at Prospect and Talmadge structures.