Information on the Restorations from Universal Pictures

Total Page：16

File Type：pdf, Size：1020Kb

INFORMATION ON THE RESTORATIONS FROM UNIVERSAL PICTURES King of Jazz When first released in 1930, this musical revue starring Paul Whiteman and his Orchestra ran 105 minutes. With the advent of the Production Code in 1934, the film was trimmed to 93 minutes. For this restoration, Universal’s intent was to recover as much of the original version as possible. This proved difficult as the film and sound elements still in existence do not reflect the original version….with perhaps one exception. Universal holds a soundtrack negative that is 105 minutes long. This soundtrack served as the “template” to which the four different picture elements used in this project were conformed. About 60% of the picture comes from the original Technicolor two-color negative held by Universal. Most of the remaining 40% of the picture comes from vintage 35mm prints held by the Cohen Film Collection and the UCLA Film and Television Archives. One hard to find sketch was discovered on a print obtained from the Danish Film Institute. In order to retain as much sound as possible, any remaining short sections of missing picture were filled in using production stills from Universal’s archives. Once the film was digitally scanned and the structure of the restoration was locked, Universal’s restoration team performed extensive color correction, dirt removal, scratch repair and image stabilization in a high resolution 4k workflow. MoMA’s presentation of the film will be the restoration’s world premiere. Last Warning Research on this film’s available elements worldwide began in earnest in March 2015. After an extensive search, a 35 mm nitrate dupe negative was located at Cinematheque Francaise, currently on loan to Universal. This became the base element. Of course, being a French element, this negative features French title cards. In order obtain the English title card segments, Universal Studios staff located and scanned a 16 mm English print loaned to us by the UCLA Film & Television Archive from the Packard Humanities Institute Collection. The English title cards from this element were used to replace the French title cards in the base element. The newly restored version of The Last Warning premieres at the San Francisco Silent Film Festival on June 4, 2016, and will have its New York premiere at MoMA. .

Copy Link

Recommended publications

Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
[Show full text]
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
[Show full text]
American Popular Music
American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................
[Show full text]
King of Jazz by Jonas Nordin
The King of Jazz By Jonas Nordin Universal Pictures had contracted Paul Whiteman and his orchestra for a movie project as early as October 1928. The band was one of the most popular in the world by then and to feature Whiteman in an all talking musical picture built around his band simply had to be done. Director Wesley Ruggles was signed and the studio immediately sent out Paul Shofield, a staff writer on tour with the band, culminating in filming the band's entire concert at Carnegie Hall December 23, 1928. This footage however, was never used and is not known to have sur- vived. Filming was planned to start Janu- Bing Crosby harmonizes with Rhythm Boys Harry Barris and Al Rinker ary 15, 1929 but was immediately de- on the lively ditty “Happy Feet.” Courtesy Universal Pictures. layed as no script existed. Whiteman movie a revue is very understandable. The band left the east coast for Hollywood and re- Once this was decided the studio replaced Paul ported to Universal Studios for the filming of the mov- Fejös with Broadway stage director John Murray ie on June 28th, 1929. The musicians included Bix Anderson at the suggestion of Paul Whiteman. This Beiderbecke, The Rhythm Boys with Bing Crosby, was to be Anderson's first attempt at directing a mo- violinist Joe Venuti and guitarist Eddie Lang. tion picture. Fejös initially stayed on, working as an assistant director under Anderson, but left this posi- When Whiteman and the band arrived in Los Ange- tion soon afterwards, and was replaced by Robert les to begin filming, director Wesley Ruggles had Ross who had worked closely with Anderson on been replaced by Paul Fejös who had made Broadway.
[Show full text]
The Twenties and Louis Armstrong a Thesis Submitted to the Faculty of Atlanta University in Partial Fulfillment of The
JAZZ: THE TWENTIES AND LOUIS ARMSTRONG A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS BY LETA HENDRICKS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA MAY, 1979 TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. THE TWENTIES 3 II. JAZZ BACKGROUND 17 III. LOUIS ARMSTRONG 54 SELECTED BIBLIOGRAPHY 83 SELECTED DISCOGRAPHY 93 INTRODUCTION Louis Armstrong has been one of the most important figures in jazz history. Armstrong helped change the sound and form of jazz. Traditionally the rugged and mordant cor¬ net had been the number one horn in jazz. In the late twenties, Louis changed to the fuller and brilliant sounding trumpet. The trumpet soon became the number one horn in jazz. He played his horn like no other musician before him. Armstrong's voicing and rhythm was almost flawless. He used a vocal technique for his horn and an instrumental technique for his singing. Armstrong's lung power and extraordinary lip muscles made him the King of Jazz. Louis Armstrong became the culture hero of Blacks during the twenties and thirties. Musicians and fans alike copied his speech, dress, and mannerisms. Arm¬ strong had as much impact on his culture as did White society on him. To understand the growth of Louis Armstrong there must be an understanding of the forces and events that shaped him and jazz during the twenties. Jazz, more than any other music, has been influenced by non-musical forces and events. Two of the main influences on jazz have been race and business.
[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]
Glenn Miller Paul Whiteman MAX MORATH BILLY Murray ELIZABETH SPENCER with Lannie Garrett
glenn miller paul whiteman MAX MORATH BILLY MURRAy ELIZABETH SPENCER with Lannie Garrett 20 COLORADO HAS A STORY TO TELL Induction Ceremony Host: G. Brown – Director, Colorado Music Hall of Fame LANNIE GARRETT Video Tribute & Performance Musicians: Justin Adams (piano), Bijoux Barbosa (bass), Todd Reid (drums), Roger Campbell (clarinet), Rick Weingarten (vibes), Mike McCullough (guitar), Bob Rebholz (saxophone) BILLY MURRAY Video Tribute & Performance “Nobody’s Sweetheart” – Lannie Garrett ELIZABETH SPENCER Video Tribute & Performance “Poor Butterfly” – Lannie Garrett PAUL WHITEMAN Video Tribute & Performance “Rhapsody in Blue” – Lannie Garrett MAX MORATH Video Tribute & Performance “The Entertainer” – Justin Adams Remarks Intermission GLENN MILLER Video Tribute & Performance The Glenn Miller Orchestra – Nick Hilscher, Director The Colorado Music Hall of Fame honors those individuals who have made outstanding contributions and educates the public on everything that makes our state’s music great. As celebrated by the Glenn Miller Orchestra and inductee Lannie Garrett, “20th Century Pioneers” pays special tribute to homegrown talent that changed the landscape of modern music and shaped the minds and attitudes of entire generations. It will put a snap in your fingers and a song in your heart! LANNIE GARRETT For four decades, singer and entertainer Lannie Garrett has brought happiness to the vibrant Denver music scene. At age 22, Garrett arrived in Colorado, her first stop on a purposely undefined emigration to the West. While waiting to establish residency for tuition purposes, she met Denver club singer Ron Henry and told him to call her if he ever needed a singer. He did, and she eventually proved herself to the eager young musicians in town, many of whom backed her over the years.
[Show full text]
Early Jazz History and Criticism Bibliography John Szwed
Early Jazz History and Criticism Bibliography John Szwed Pre-1940 Writings *“About Books, More or Less: In the Matter of Jazz,” The New York Times , February 18, 1922 *“About Ragtime,” Ragtime Review . August 1916 Adorno, Theodore. “On Jazz” and “Farewell to Jazz” in Essays in Music . Berkeley: University of California Press, 2002, pp. 470-495, 496-500 *Aldrich, Robert. “Drawing a Line for Jazz,” New York Times , December 10, 1922 (Reprinted in Koenig 2002) *Alford, Harry L. “The Make-Up of a Modern Orchestra,” Metronome , July, 1923 (Reprinted in Koenig 2002) *[American jazz in France] The Nation , June 11, 1924 *“American Jazz Is Not African.” Metronome . October 1, 1926 *“America’s Folk Music.” The Outlook . February 2, 1927 *“An Afternoon of Jazz,” The Musical Courier , February 14, 1924 (see Vincent Lopez) *(Editorial Notes) “Another Word about Jazz,” The Musical Observer . November. 1926 (Reprinted in Koenig 2002) Ansermet, Ernest. “Sur un Orchestré Nègre,” Revue Romande , October, 1919 (reprinted as “A ‘Serious” Musician Takes Jazz Seriously,” translated by Walter Schaap, in Robert Walser, ed. Keeping Time: Readings in Jazz History . NY: Oxford, 1999) and in Reading Jazz , Robert Gottlieb, ed., NY: Pantheon, 1996, pp. 741-746 *Antheil, George. “A Discussion of the Debate—‘Is Jazz Music?’—In the July and August Issues of The Forum ,” Forum . December 1928 *_____________. “Jazz,” Life and Letters . July, 1928 _____________. "The Negro on the Spiral, or A Method of Negro Music" in Negro: An Anthology Negro: An Antholog y, Nancy Cunard and Hugh Ford, eds. NY: Frederick Ungar, 1970 [1934], p. 185 *“Anti-Ragtime,” The New Republic , November 6, 1915 Apold, Felix.
[Show full text]
Snoozer Quinn
©Copyright by Kathryn Damaris Hobgood, 2013 All Rights Reserved ACKNOWLEDGEMENTS Thank you to my Tulane University advising committee, John Baron, John Joyce, and Matt Sakakeeny; and to the friendly Newcomb Department of Music staff, Diane Banfell, Michael Batt, and Kathleen Crago. Thank you to the wonderful staff at the Hogan Jazz Archives, Bruce Raeburn, Lynn Abbott, and Nicole Shibatta; and to my friends at the Louisiana State Museum, Greg Lambousy, Beth Sherwood, and Arthur Smith. Thank you to the National Film Preservation Foundation. This study would not have been possible without the patient guidance of guitarists John Rankin and Chip Henderson. I am grateful. Joe Holland, Don Peterson, Claude Blanchard, Jr., Claudia Lee, Kay Kelly, Sam Brylawski, Jürgen Schwab, and Doug Pomeroy have been invaluable resources. So many others have encouraged me with their interest and given me great boosts in countless ways. The guitarists Leo Kottke, Mundell Lowe, Lloyd Wells, Les Paul, Frank Federico, and Marty Grosz have all been inspirational; special thanks to my buddy Steve Howell for lighting the match. Banjoists Jody Stecher and Steve Baughman, and guitarists John Stropes and Marshall Newman, your advice has been so helpful. Thank you to Mike Peters, Michael Brooks, Guy Van Duser, Tony Russell, Scott Black, Tad and Nancy Kivett, Sue Fischer, David McCain, Karl Koenig, Vince Giordano, George Schmidt, Jack Stewart, Justin Winston, Les Muscutt, Cliff Ocheltree, Don Marquis, George Buck, Charles Chamberlain, Allen Boudreaux, Bob Cassady, Tom Morgan, Dave Raudlaur, Cary Ginnell, Dave Sager, Richard Raichelson, Bill Trumbauer, John Brown, Wiley Hunt, Sara Berensen, Wynona Pollack Mitchell, John Colianni, Rob Hudak, David Garrick, Eric Brock, Joey Kent, and Chris Brown.
[Show full text]
Early Jazz in Vaudeville Steven Lewis
Florida State University Libraries Honors Theses The Division of Undergraduate Studies 2012 "Untamed Music": Early Jazz in Vaudeville Steven Lewis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] Abstract: (jazz, vaudeville, early jazz, jazz history) Vaudeville, which was one of the most influential entertainment genres in America at the turn of the century, was also important to the early development of jazz. Vaudeville’s role in jazz history has not often figured into discussions of early jazz because the earliest jazz historians were record collectors who relied heavily on sound recordings to establish the history of the music, leading them to marginalize the contributions of musicians or bands that did not make records. Touring vaudeville, minstrel shows, and circuses played a crucial role in jazz’s development and dissemination. Many of the influential jazz artists of the teens and twenties, such as Alvin “Zoo” Robertson, Wilbur Sweatman, Freddie Keppard, and Ferdinand “Jelly Roll” Morton began their careers playing in tents and theaters around the country as vaudeville entertainers. Traveling vaudeville shows were the most significant factor in the spread of jazz before the advent of recording, and brought early jazz to appreciative audiences even before 1917, when the first jazz recordings became available. After these initial recordings, the shows carried jazz to remote areas of the country where jazz records were less likely to be available. These shows continued to be important for the careers of jazz musicians until the mid thirties, when the ascendance of film and radio led to vaudeville’s terminal decline.
[Show full text]
Blackface, White Noise: the Jewish Jazz Singer Finds His Voice Author(S): Michael Rogin Reviewed Work(S): Source: Critical Inquiry, Vol
Blackface, White Noise: The Jewish Jazz Singer Finds His Voice Author(s): Michael Rogin Reviewed work(s): Source: Critical Inquiry, Vol. 18, No. 3 (Spring, 1992), pp. 417-453 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1343811 . Accessed: 27/01/2012 17:36 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Blackface, White Noise: The Jewish Jazz Singer Finds His Voice Michael Rogin 1. Movies and the Black Question Each transformative moment in the history of American film has founded itself on the surplus symbolic value of blacks, the power to make African Americans stand for something besides themselves. There have been four such moments. Edwin S. Porter's Uncle Tom's Cabin (1903), bringing the most performed theatrical spectacle of the late nineteenth century into the movies, marked the transition from popular theater to motion pictures that characterized the prehistory of classic Hollywood cinema. The most lavish and expensive film to date, and the first to use intertitles, Uncle Tom'sCabin was the first extended movie narrative with a black character and, therefore, since African Americans were forbidden to play African Americans in serious, dramatic roles, the first substantial blackface film.
[Show full text]
Johnson, Jay Cee (JC) Collection, 1896-1981
Jay Cee (J. C.) Johnson Collection (September 14, 1896-February 27, 1981) BIOGRAPHICAL NOTE Jay Cee (J. C.) Johnson, a Jazz and Pop composer, was often referred to as the “composer’s ‘composer.’” Johnson was born in Chicago, Illinois, on September 14, 1896, and died on Friday, February 27, 1981, at St. Luke’s Hospital in Manhattan (New York City), at the age of 84. He received early education in the Chicago Public School System. His mother, Ellen, and his father—who worked as a waiter on the railroad, was away from home most of the time—is unknown. J. C. expressed an interest in music at an early age, but his mother, who sang in the church choir, did not encourage her son to pursue a career in music. Later, while studying the violin, a friend began to give him piano lessons, and because of his attention dedication sounds better in learning to play, his mother decided that this would be his instrument of choice. At the age of 19, following the death of his mother, he moved to New York City, where he began to study piano with a man named Sam Patterson. Around 1920, he began to work as a session pianist, working with singers such as Ethel Waters, who sung in his first recorded hit titled “You Can’t Do What My Last Man Did,” and would go on to record many of his songs. Johnson would go on to compose more songs, including his first version of “Travel’ lin All Alone,” with Billie Holliday as vocalist (one of her first significant hit songs).
[Show full text]