¡5 Sw LITTLE THEATRE ÄÄ Classic Dances in Varieties of 1920

Total Page:16

File Type:pdf, Size:1020Kb

¡5 Sw LITTLE THEATRE ÄÄ Classic Dances in Varieties of 1920 " ' ' ¦l '* ' ¦. ¦'".J"- 'r'- ««¦¦¦.¦'i''1-' -.' «'s..í¦' '' .«a- '.:..--*.; ... r-rrnj._ ." .m11,1,., ., .. -1 ¦.-.¦¦»*".- . i',.',..,..,.,..,,, ,,,,;,,',-__,.,..,.,,,.. Intimate.. Information._'.... From the Realm,. ¦¦ ¡,j ¦;¦. '. M ofil-v ',' ,', Make-Believe.s_-^r-r-~,.;¦,¦ called "The Eighteenth will been tarer ex¬ American Anmjidment" be the film. Boris Fridkin'i working sine» with the made Just before the overthrow «rf <_. Portrays Beauty Walter Hast, English The Misses Harriet McConnell, Dia¬ "Ballet Russe" will be one of th« ception of a week spent in Tia Juana, Carraña government. ^àr* Penrhyn Stanlaws, Artist, Type mond and Girlie, Claudia Coleman, hcadliners for the last part of th« Mexico, where the big racetrack scenes Gives Praise "Sailor" Bill Producer, Ed E. Ford, Reilly, week. Herbert Bosworth will be seer in the ninth and tenth episodes were (Othar Amostement News oa Emerson an«! Baldwin, Pisano and In tho picture "Below the Surface." PsgjP,». Now Füm Director, to Find To Belasco and Shubert Emile and John Nathane also will be » ¦¦ -. seen. /* Shows NEW YORK'S LEADING THEATRES AND (Continued from preceding pig«) . Leonard SUCCESSES COLONIAL Herman . Timberg will Benny American share top-line honors with George That He Is as Good Beauty "Type" for as Choos's miniature musical comedy, HEWAMSTWOAH THEATRE ^¡»ywrights, such, instance, Eu¬ "The Little Cottage." "The Man gene û'Nelll." Handera and Bernard A as Fighter Penrhyn ßtanlaws, whose magasine lighting effects, «s an artist whose It Is interesting to know the «Itér¬ Hunt," Milliss, Jockey cover girls have a and Duffy, Burt and Rosedale, Julia enjoyed world-wide' work possesses a charm and delicacy ions of a m.n who has handled such the Levólos and There is to be much of local interest vogue for more than twenty years, has of touch individual and de¬ figures in England as Sir Alex¬ .Curtis, Everest's iMEGFELD FOLLIES turned his back the box and wholly George novelty circus also are on the pro¬ in the Hallmarx serial film drama upon paint lightful. He has studied drama on the ander, Sir Herbert Tree, Ethel Irving . AT O:30-ON THE COOL tJOOF easel and has gone into the movies¡4 Continent and »s the author of several and Arthur Bourchler.and these are gram. called "The Evil Eye," by Roy L. AftT HICKMAN OUCHfcSTRA WILUAH And, what is much worse, he has de¬ plays which have been produced abroad but few of the noted actors Walter EIGHTY-FIRST STREET."Bits and McCardell, starring Benny Leonard, clared that the covets of popular maga- with notable success, among others be¬ Hast has directed. DuMaurier, he be¬ Pieces," featuring Jack PaJ;ton and of the world. It BOCKS sines will know him no more, because which is the actor in lightweight champion with eOOE »CANTOQ«jnd<SRlS _J| ¦.he ing "Instinct," Charles Froh- lieves, greatest the Loretta Marks, will be the headline soon. Others in the I NUttCAL intends to devote his entire time man produced with Aubrey Smith in world; Ethel Irving the greatest ac¬ will be shown UNEXCELLED RESTAURANTmm and energy and talents to becoming a London, and "The End of tho tress in the attraction. John Emerson and Anita company include Stuart Holmes, J. Gor- TáíI lllfiUT COHAN * HARKIS Theatre ft*W* director of the first on Hunting," English tongue, equally Loo» will Constance Ruth Mme. Mar- U-nlUn I EDDIE CANTOR, Etc. at rank. From now which Sir Henry Irving had in rehear¬ great in comedy and tragedy; Sir Al¬ present Talmadge don Cooper, Dwyer, NELLIE REVELL TESTIMONIAL BENEFIT teA^Watmete there very will bo a dearth in "The Love Expert." Others on stini and others. a* of probably sal when ho died. Mr. Stanlaws's' fred Butt the premier manager in Eng¬ Evil V¿?rWpS3ai . Stanlaws girls for the walls of avowed intention when ho left Prince¬ and Albert De Courville the tho bill indude Eddie Borden and As the story of "The Eye" par¬ houses, clubrooms, land, company, Royal Gascoignes, Mason allels the "Wall Street Bond Mystery" "housefraternity boarding ton University in 1901 was to go to greatest producer of musical shows with the .v_»n_« third-floor fronts, and all other Paris to but a and reviews. and Cole and Marguerite and Al¬ and deals most extensively «1 study drama; after year it was necessary places where the cut-out-and-tacked-up or so he tired of his for varez. elusive "master mind," cover subject and went Asked his American preferred three in New HENRÏ MILLER'S THEATRE magazine figures largely 'in the in for art instead. For four Mr. Hast smiled. a LOEW'S AMSTERDAM.Fred La Reine to take the first episodes general' scheme of interior decoration. years he stock, "That's York. The company, after finishing the 124 Wtft «Id St. T»l. 7410 Bryant. maintained an atelier and perfected large order for a guest in the land," and company and Hary Steppe and in which the Con¬ Era. 8:20. UaU. Thuraday _d Sat. 2:20. Many of Mr. Stanlaws's intimate the which was he Wall Street scenes, friends are connected with the film in- technique afterward to said. "I believe, however, that David Don Clark will be the headlinera for Stock Exchange figures con¬ niake him known wherever Belasco is the world's greatest dramatic solidated lat¬ - have him from magazines for the Coast the dustry »nd called upon were circulated. He a the first part of the, week. Mary spicuously, left time to time to aid them in problems Architecture, too, is producer. is in sphere by him¬ Miles Minter in "Jenny Be Good" ter part of February, where they have HENRY MILLER of interior decoration and for a subject with which Mr, Stanlaws is self. His work is similar to that of lighting familiar. Sir am studio sets, as well as for advice upon thoroughly The famous Ho¬ Henry Irving. I not alone in of tel des Artistes, regarded as one of that opinion. When Sir Herbert Tree BLANCHE BATES points dramatic technique arising most In in the construction of scenarios and the charming and intelligently saw 'The Darling of the Gods' he said of certain successes planned studio' apartments in New it was the world's finest production adaptations stage York, stands as a monument to his in modern times. "TheFamousMrs.Fair" for the screen. "In By JAMES FORBES Ouida Bergère, a scenario writer, versatility. the field of theatrical manage¬ .who in private life is Mrs. George Fitz- Mr. Stanlaws plans to create a screen ment I Consider Lee Shubert the great¬ DIRECTION A. ERLANGER. maurice, had been one of the many type Of American girl which will enjoy est in my time." photo playwrights who had called upon just as much popularity as the Ameri¬ Bfoadwau'at 5lar"St. Phon« Circle 5500 can of renown. TO-NIGHT K^MrÄ £rs TO-HIBHT .Mr. Stanlaws for aid in the girl magazine He be¬ ' planning lieves that the winsome charm /J5UBWAY STATION AT,iTHE-}DOOPLj NELLIE REVELL TESTIMONIAL BENEFIT NELLIE REVELL".«^mjBTESTIMONIAL of her scenic effects; and also had read and Vaudeville World*» Lor«rest. Coolest.Most BENEFIT the of his new a buoyancy of our native daughters can ,_ manuscript play, npiiiitlful Theatre dramatic version of "Manon Lescaut." be interpreted just as well, if not bet¬ EDWARD BOWES.Managing; Director on the Penrhyn Stanlaws, former ar¬ PALACE.Pat Rooney and Marion She and Mr. Fitzmaurice persuaded ter, screen as in mute, inactive Bent in of him to become assistant director de colors. tist, now in motion "Rings Smoke." by Edgar "I pictures Allan Woolf, will be headlined. They iKNIOCEKB0I^^THEaTREÍ^^7 shall not luxe to the latter, of the Famous Play- attempt to produce inde¬ are storting ¦ supported Marie H. B. WARNER cuctain ers-Lasky Company, for a period long pendently," declares Mr. Stanlaws, by Kavanaugh, in the mystifying» society drama TOMOQDOw NIGHT aesHAßP "until I of one of the re¬ J. Paul Everett, Lucille Love, Lillian enough to enable him to learn all there know the motion picture game departure choristers Maude Vincent \_ 1 was to learn about from the ground up. I cannot think hearsing with Frank Tinney's forth¬ Fermoyle, Drury, THE production. of "Tickle Me" show Miss Lopez and his kings of harmony. Mr. Fitzmaurice, whose productions any two people I would rather be coming gave Hilda Carling, ballerina from HOUR BEFORE DAWN" VICÏ0B Graham her to prima "ONE HEBBERÍS of "The "A associated with than opportunity take the Avalanche," Society Exile," Ouida Bergère oath of the Opera House, Stockholm, "On With the Dance," and "The Right and George Fitzmaurice. They are allegiance to lyric folly, and will maleeRoyal her début. Mlle. NEW MODEQN - when this new of Nitta-Jo, ARRANGED BY S. L. ROTHAFEL to Love," have attracted attention by adepts in their profession, as well as piece Arthur Ham- the French character known BANNER MUSICAL OFFERING virtue of their and dramatic quite tireless and in merstein's enters the Selwyn next singer, Presentation " G,ven "> Ten beauty patient initiating in Paris as La Gigolette Parisi¬ Gorgeous .».»!?" A IT G T1 Episodes O IM THE /#J intensity, has risen in the past year to me into the solemn secrets of month Miss Graham will be observed of Gems from .t\. U VJ A 5 Soloists and Ensemble P ETTA GIRL, photo¬ enne, will new songs. Ivan Opera prominence in the front rank of pres- play production." among those stepping to the band. sing Eg ^-.«.a B._irt 0 BankofF and company will appear in ent-day directors. Mr. Stanlaws, edu¬ a "The GEORGE^..DEREß cated in France and She's Now a Dancing Master," featuring "ILLITERATE DIGEST" VICTORY PARADE PCODUCIN G ca England, America, Chorus Girl J.
Recommended publications
  • 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]
  • Ouida Bergère
    Ouida Bergère Also Known As: Eulalia Bergère, Ida Bergère, Mrs. George Fitzmaurice, Mrs. Basil Rathbone Lived: December 14, 1885 - November 29, 1974 Worked as: adapter, film actress, scenario editor, screenwriter Worked In: United States by Laura Jacquelyn Simmons Ouida Bergère was perhaps best known in the film industry as Mrs. Basil Rathbone and party hostess extraordinaire. However, before her marriage, to Rathbone, Bergère was a prominent and top paid scenario writer. Bergère was born in Spain, but moved to the US at the age of six. Her father was French-Spanish and her mother, British (Lowrey 1920, 22). There is some conflicting information regarding her birth name; most sources claim she was born Ida Bergère, others Eulalia Bergère. Regardless, upon entering the film industry, she changed her name to Ouida. Bergère began her film career by serving as scenario editor and actress for Pathé Freres, eventually writing her own scripts and branching out to other companies, including Vitagraph and Famous Players-Lasky, according to the New York Dramatic Mirror in 1915 (24). Much of Bergère’s screenwriting career coincides with the career of her second husband, George Fitzmaurice, to whom she was married before Rathbone. She met Fitzmaurice after she started her screenwriting career, and after their marriage, he directed almost all of the films she wrote. As is the case with the many Hollywood marriages, Bergère’s relationship to Fitzmaurice must be considered when discussing her career, and, typically, because her career was so closely linked to that of Fitzmaurice, there is confusion about their credits. She very well might have had her hand in directing some of the films that have been credited to him, as was the case with other couples such as actress Alice Terry and director Rex Ingram.
    [Show full text]
  • Ancient Greek Tragedy and Irish Epic in Modern Irish
    MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Katherine Anne Hennessey, B.A., M.A. ____________________________ Dr. Susan Cannon Harris, Director Graduate Program in English Notre Dame, Indiana March 2008 MEMORABLE BARBARITIES AND NATIONAL MYTHS: ANCIENT GREEK TRAGEDY AND IRISH EPIC IN MODERN IRISH THEATRE Abstract by Katherine Anne Hennessey Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence. Partially because of its long-standing claim to the title of Ireland’s “National Theatre,” the Abbey has been the subject of the preponderance of scholarly criticism about the history of Irish theatre, while the Gate has received comparatively scarce academic attention. I contend, however, that the history of the Abbey--and of modern Irish theatre as a whole--cannot be properly understood except in relation to the strikingly different aesthetics practiced at the Gate.
    [Show full text]
  • Simply-Hitchcock-1587911892. Print
    Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.
    [Show full text]
  • Ronald Colman
    RONALD COLMAN Période 1919-1929 Né le 9 février 1891 à Richmond dans le Sur­ Puis Samuel Goldwyn lui signe un contrat à rey, Ronald Colman fut le comédien britanni­ long terme et le comédien entame la période la que le plus populaire du cinéma américain de plus fructueuse de sa carrière, tournant sans l'entre-deux guerres. discontinuer. Goldwyn met en œuvre plusieurs Suivant d'abord le conseil de ses parents, il fit films construits autour de sa personnalité (il des études d'ingénieur avant de s'engager en produira près de 20 films avec R. Colman de 1914 à la déclaration de guerre. Après avoir 1924 à 1933): L'acteur aura pour partenaires combattu en France et en Belgique, il est démo­ quelques-unes des plus grandes stars du muet : bilisé en 1916 à la suite d'une blessure. Irrésisti­ Lillian Gish, Constance Talmadge (LA blement attiré par les planches, il commence GALANTÈ MÉPRISE, SA SŒUR DE PARIS), une carrière d'acteur dans le théâtre londonien. May McAvoy (L'ÉTREINTE DU PASSÉ, 11 tourne un petit iilm en 1918, un " deux L'É"VENTAIL DE LADY WINDERMERE), bobines » qui apparemment ne sera jamais dis­ Norma Talmadge (KIKI), Lily Damita (LE tribué, puis quelques bandes mineures, et FORBAN) et surtout Wilma Banky avec décide d'aller tenter sa chance aux États-Unis. Il laquelle il formera dans cinq films le couple le émigre en 1920 et joue sur les scènes de New plus célèbre du cinéma américain de l'époque York et de Los Angeles, attendant le succès. (L'ANGE DES TÉNÈBRES, BARBARA FILLE Il se fait remarquer dans une pièce qu'il inter­ DU DÉSERT.
    [Show full text]
  • Frances Marion and the Powerful Women of Early Hollywood
    LOS ANGELES IN 1924 was still coming in to its own. It had been Spanish territory when, a century and a half earlier, Franciscan friars cut a swath through the native villages and built the mission and plaza that soon formed the nucleus of the pueblo of Los Angeles. There was a brief Mexican reign before California was “proclaimed for America” in 1846, but while the gold rush that stimulated statehood in 1850 made a huge impact on northern California, turning San Francisco into a major cosmo- politan city, Los Angeles remained a “tough cow town.” It wasn’t until the land boom of the late 1800s that major changes grew visible, followed by an economic downturn, and soon Midwestern families were joining together to buy hundreds of acres, moving en masse to the area to create their own communities infused with their own values. The discovery and exploitation of oil quickly accelerated the changes, spurring the development of the port and interspersing lean-to refineries and wells away among the orange groves, the churches, a few hotels, and clusters of houses and shops. By the beginning of the new century, the southland was a series of three dozen incorporated towns and it was close to impos- sible to know where one began and another ended. The region was tied together by the Red Cars, electric trains running from San Fernando down to Newport Beach and from Riverside out to the Pacific Ocean, providing cheap, easy access from one town to the next for tourists and commuters alike. The sun, the dry air, and the ocean all factored into slowly but surely 1 Beauchamp.indd 1 10/26/2005 11:19:53 AM bringing the new phenomenon of movie making to the area.
    [Show full text]
  • Redefining Beur Cinema: Constituting Subjectivity Through Film
    REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM by Yahya Laayouni Licence, English Literature, Mohammed ibn Abdellah University, 2000 DESA, Mohammed ibn Abdellah University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yahya Laayouni It was defended on April 10th 2012 and approved by Todd Reeser, Associate Professor, French and Italian Mohammed Bamyeh, Professor, Sociology Neil Doshi, Assistant Professor, French and Italian Dissertation Co-advisor: Giuseppina Mecchia, Associate Professor, French and Italian Dissertation Co-advisor: Randall Halle, Klaus W. Jonas Professor, German ii Copyright © by Yahya Laayouni 2012 iii REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM Yahya Laayouni Ph.D. University of Pittsburgh, 2012 This dissertation focuses on Beurs’ modes of identification in France as depicted in film. The term “Beur” is not used as an identity based on birth or citizenship but rather as a socio- cultural construct that serves as an analytical tool to dismantle the notion of Frenchness. This study, thus, investigates how cinema reflects on the experience of the Beurs through filmic narrative. The aim is to trace the changing lives of the Beurs as they have been reconstructed in movies since the early eighties. This process is both synchronic and diachronic. Synchronic as it engages in the analysis of films with respect to their historical context and diachronic as it will permit the distilling of the commonalities between these films to lead to the conception of Beur cinema as a film genre.
    [Show full text]
  • Technicolor Adventures in Cinemaland
    Technicolor Adventures in Cinemaland H. T. Kalmus Reprinted from Journal of the Society of Motion Picture Engineers, December, 1938, Pages 564-584, TECHNICOLOR ADVENTURES IN CINEMALAND* fl. T. KALMUS** Summary.-A n account of some of the highlights in the history of the development of the business of Technicolor Motion Picture Corporation primarily from the point of view of its contact with motion picture producers, distributors, and exhibitors; incidental to which is an account of the development and growth of the various Techni­ color processes from a semi-technical point of view but with special reference to practi­ cal application in the motion picture industry. Webster defines adventure as chance of danger or loss; the encoun­ tering of risks; a bold undertaking, a da__ring feat; a remarkable oc­ currence or experience, a stirring incident; a mercantile or speculative enterprise of hazard; a venture. The excursions of Technicolor irtto the domain of the producers, distributors, and exhibitors of motion pictures have bc~n all of these. Technicolor has manufactured and shipped prints of many hun­ dreds of productions (during 1937 alone of over 350 subjects for some fifty different customers including more than twenty features) and since some phase of adventure usually develops during the photog­ raphy or printing of any production, it is clear that this account does not pretend to be complete. Nor are the events described in detail necessarily those of greatest importance. The writer having played a continuing part will no doubt unduly emphasize some which he found particularly interesting, whereas with the passage of time others only lightly touched upon or omitted may be found to be of greater significance.
    [Show full text]
  • Ouida Bergère Sarah Bernhardt Alice Guy Blaché Beatrice Buch Alta M
    Ouida Bergère As an actress, Bergère's early stage credits included Via Wireless (1910); her screen credits as supporting actress from the 1920s included Kick In (1922), and Bella Donna (1923). Beside her acting work, she also headed her own talent agency during World War II, managing stars such as Nazimova, Adolphe Menjou, and Lionel Atwill. A well-known screenwriter, among her many credits are The Avalanche (1919), A Society Exile (1919), On with the Dance (1920), The Man from Home (1922), The Cheat (1923), and The Eternal City (1923). First married to film producer George Fitzmaurice and later to actor Basil Rathbone, Bergère was a renowned Hollywood hostess. She was living in Manhattan when she died on November 9,1974, at the age of eighty- eight. Shortly before her death, she had completed her memoirs of Hollywood life. Six Days 2:0139 Sarah Bernhardt Sarah Bernhardt, the celebrated French tragedienne, was bom in Paris on October 22,1844. She joined the Paris Conservatory in 1861 and in 1886 she toured the United States as a stage actress. She made only a few films, including Hamlet (1900), La Dame aux Camelias (1910)•later released in the United States as Camille (1912)•andMothers of France (1917). She died on March 26,1923, in Paris. An Actress's Romance 1:0036 Alice Guy Blaché Alice Guy Blaché was bom in Paris in 1873, and became one of the most well-known women working in film in the early years of the twentieth century. She began her career at Gaumont in Paris in 1896, and claimed that her film La Fée aux Choux (1896 or 1900?) was the first film narrative with a plot After emigrating to the United States with her husband Herbert Blaché in 1907, she branched out on her own; in 1910 she formed her own production company, Solax, and in 1912 built her own studio in Fort Lee, New Jersey.
    [Show full text]
  • The Silent Films of 1923 Shown at the Empress Cinema, Sutton Coldfield
    THE SILENT FILMS OF 1923 SHOWN AT THE EMPRESS CINEMA SUTTON COLDFIELD By Don McCollom Extract from the Sutton Coldfield News of January 1923: EMPRESS CINEMA & CAFÉ: CIVIC OPENING OF THE CINEMA “The opening of the Empress Cinema at Sutton Coldfield took place on Monday afternoon the 1st January 1923 in the presence of a very large gathering. The Empress cinema and Cafe is situated at the entrance to the Lower Parade, and stands on the site of the old and noted Ashby House, a relic of bygone days, and is an excellent representation of how modern construction with efficient and economical design may overcome difficulties that at first appear insurmountable, and so manipulate them to form successful features in the building. The theatre, perfect throughout, is absolutely fireproof, the quality of the brickwork, steel and reinforced concrete being so combined as to ensure this most necessary characteristic. The design throughout being in the Grecian style gives a very pleasant result. The use of white Hollington stone in its construction in conjunction with the purple brick facing on the front elevation gives a most distinguished effect, as does the wide and imposing entrance which is supported on either side with granite columns covered by a large Ornamental Canopy. “The Ornamental Canopy gives the whole building not only an attractive but a magnificent appearance. The arrangements internally are such as will give convenience and comfort to the patrons, special care being bestowed on the lines of projection to the screen so as to avoid as much as possible eye strain. As no seat is less than 24 feet from the screen a clear view is obtainable by everyone.
    [Show full text]
  • Download the UCLA Festival of Preservation Catalog (PDF)
    FROM THE DIRECTOR THE UCLA FILM & TELEVISION ARCHIVE'S mission is to preserve and provide access to our collections. The biennial Festival of Preservation allows us to show pristine examples of our recent work as they were meant to be seen-by appreciative audiences on the big screen. This year's Festival is dedicated to Preservation Officer Robert Gitt-the man who since 1977 has put the Archive on the international map for excellence in film preservation and restoration. In 2005, he officially retired from University service. but will continue to work part-time. contributing his wealth of expertise to preservation and restoration projects for many years to come. A special evening on Saturday, July 29. hosted by film critic and historian Leonard Maltin. will celebrate Bob's singular career. This year is also notable because it is the last time the Festival will be presented in the James Bridges Theater. In early 2007, with construction funding from Mrs. Audrey Wilder. the Archive will move into a new home at the state-of-the-art Billy Wilder Theater at the Hammer Museum in Westwood, creating an incomparable center to celebrate the legacy of motion pictures. The 13th Festival of Preservation presents a wide selection of fascinating motion pictures. shorts, television and newsreels. Film directors range from Elia Kazan. Hal Roach and Orson Welles to Kenneth Anger and John Cassavetes. Stars include Carroll Baker, Clara Bow. Ronald Colman, Cary Grant, Laurel and Hardy, Burgess Meredith and Gena Rowlands. One television evening takes a rare look at Johnny Carson before THE TONIGHT SHOW.
    [Show full text]
  • Resisting Hollywood? a Comparative Study of British Colonial Screen Policies in the Interwar Pacific: Hong Kong, Singapore and New Zealand
    Resisting Hollywood? A Comparative Study of British Colonial Screen Policies in the Interwar Pacific: Hong Kong, Singapore and New Zealand by David B. Newman M.F.A., Ohio University, 1993 M.A., Victoria University of Wellington, 1987 B.A., Victoria University of Wellington, 1985 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © David Newman 2013 SIMON FRASER UNIVERSITY Spring 2013 Approval Name: David B. Newman Degree: Doctor of Philosophy Title of Thesis: Resisting Hollywood? A Comparative Study of British Colonial Screen Policies in the Interwar Pacific: Hong Kong, Singapore and New Zealand Examining Committee: Chair: Dr. Robert Anderson Professor Dr. Catherine Murray Senior Supervisor Professor Dr. Janet Wasko Supervisor Professor and Knight Chair of Communication Research University of Oregon Dr. Dal Yong Jin Supervisor Associate Professor Dr. Colin Browne Internal Examiner, Professor School of Contemporary Arts Dr. Richard Maltby External Examiner Matthew Flinders Distinguished Professor Flinders University, Adelaide Date Defended/Approved: April 10, 2013 ii Partial Copyright Licence Abstract Set against a background of imperialism, this study uses a comparative approach to investigate government policies toward, and interventions in, the motion picture industry prior to 1942 in three former British territories — Hong Kong, Singapore (Straits Settlements) and New Zealand. This study is broadly situated within new cinema history and is based on government and industry documents preserved in archives spanning several countries. Drawing upon political economy and media policy to inform the underlying narrative and analysis, the focus is explicitly on the development of the political and regulatory system governing the motion picture history in each polity.
    [Show full text]