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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
FILMS by LAWRENCE JORDAN Lawrence Jordan in Person
Bay Area Roots, Risk & Revision FILMS BY LAWRENCE JORDAN Lawrence Jordan In Person Sunday, May 13, 2007 — 7:30 pm — Yerba Buena Center for the Arts I don’t know about alchemy academically, but I am a practicing alchemist in my own way. —Lawrence Jordan Lawrence Jordan has been making films since 1952. He is most widely known for his animated collage films, which Jonas Mekas has described as, “among the most beautiful short films made today. They are surrounded with love and poetry. His content is subtle, his technique is perfect, his personal style unmistakable.” Tonight’s screening sketches out a sampler of Jordan’s films, starting with Trumpit, a 1950s ‘psychodrama’ starring Stan Brakhage, with sound by Christopher Maclaine; Pink Swine, an anti-art dada collage film set to an early Beatles track; Waterlight the first of Jordan’s “personal/poetic documentaries” made in the 1950s aboard a merchant marine freighter during his days as a wandering flâneur; and Winterlight, a visual poem of the Sonoma County winter landscape. Lawrence Jordan’s four most recent films will conclude the night: Enid’s Idyll, Chateau/Poyet, Poet’s Dream, and Blue Skies Beyond the Looking Glass. (Jenn Blaylock) Trumpit (1956) 16mm, b&w, sound, 6 minutes, print from the maker Stan Brakhage stars as the constricted love in this spoof of pseudo-erotic card play. (LUX) Waterlight (1957) 16mm, color, sound, 7 minutes, print from the maker Among the wanderings that began in the 1950s was the filmmaker's 3-year stint in the merchant marine. Waterlight is a night and day impression of the never-constant, ever-changing vast ocean and its companion the sky. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Hooray for Hollywood!
Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing. -
The Physician at the Movies Peter E
The physician at the movies Peter E. Dans, MD Kenneth Branagh (center) is Viktor Cherevin in Jack Ryan: Shadow Recruit. © MMXIV Paramount Pictures Corporation. All Rights Reserved. Photo credit: Anatoliy Vorobev. Jack Ryan: Shadow Recruit therapy. She can’t date patients but when she is no longer his Starring Chris Pine, Keira Knightley, Kevin Costner, and caregiver and has embarked on her ophthalmology residency, Kenneth Branagh. they begin a relationship. After he leaves the hospital, Ryan is Directed by Kenneth Branagh. Rated PG-13. Running time recruited by CIA operative Thomas Harper (Kevin Costner) as 105 minutes. an analyst to monitor the Russians who are plotting to destroy the dollar. We are treated to screensful of computer-generated he film opens in London on September 11, 2001, where figures and assorted mumbo-jumbo that essentially show that John Patrick Ryan (Chris Pine) is pursuing an economics the Russians are hiding numerous accounts and could dump degree.T The 9/11 attack leads him to join the Marines. Cut next billions in treasury bonds on the market at a critical time, to to Afghanistan where he and other Marines are being trans- devastating effect. Ryan is sent to Moscow, where he escapes ported in a helicopter while discussing the relative merits of killers, helps advise the tracking down of terrorists, all the the Baltimore Ravens and Cincinnati Bengals. (This dialogue while racing against the clock to prevent a stock market col- was probably an homage to Tom Clancy, a Baltimorean and lapse. He is almost killed by the person who is sent to meet the author of the Jack Ryan novels.) This is the only Ryan story him at the airport to “protect” him. -
Cinematic Fashionability and Images Politics
Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear. -
Winter 2008 Volume 27, No
Winter 2008 Volume 27, No. 4 $500,000 Challenge Gift A Conversation With SOHO’s Bruce Coons Merchants & Memories Exhibit 7846 Eads Avenue La Jolla, CA 92037 858•459•5335 858•459•0226 (fax) Executive Director’s Column www.lajollahistory.org [email protected] Leadership and Vision Mailing Address: n spite of a difficult Challenging All La Jollans PO Box 2085 La Jolla, CA 92038 Ieconomy, we welcome The Society was thrilled recently to receive a signif- 2009 with great hopes icant challenge gift towards our capital campaign Open to the public: that momentum achieved (page 3). While the name of the donor of this Monday - Friday 10am - 4pm in 2008 will continue. generous gift must remain anonymous for now, the MISSION STATEMENT As we look ahead, how- intent of this gesture is clear: challenge La Jollans The La Jolla Historical Society is dedicated to ever, it’s important to to participate at a higher level. If La Jolla the discovery, collection and preservation of La Jolla’s heritage. recognize the leadership accepts this challenge, that helped the Society meeting our goal Through our collections and programs, we We want to strengthen get to where it is now: our Board. will truly be a work with the community to discover and the Society’s role as the record La Jolla’s history; to preserve its historical The Society’s Board of Directors is made up community-wide objects, sites and structures; and to increase of some of La Jolla’s most respected community accomplishment. focal point of our appreciation of the value of preserving the leaders. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
In the Valley's Finest Markets
AT CAPITOL EASY PLEASURE PAY Something nexv in the way of an all-star comedy satirizing the mak- Mrs. if husband canve home this and informed you ing of talking pictures is offered Housewife, your evening In Metro-Goldwyn-Mayer’s farce. he had been given a $25.00 a month raise in salary, you’d be delighted, (so would “Free and Easy,” which will be he) but plan on some new dresses and many things for the children— shown the you’d today at Capitol theatre. know. Not since- “Show People,” King extras, you Vidor's expose of the in- laughing extras side workings of Hollywood studios If you are not trading at Jitney Jungle you are missing those right In which William Haines and Mar- now, as the money you save will buy them. It is so easy to buy here that it be- ion Davies were co-starred some comes an anticipated daily pleasure, and the best of it is that you actually get time ago, has there been a picture 90 per cent of whose locale is laid paid for doing it. within the closely guarded portals of the cinema industry. Amazing Cast SELLS FOR LESS William Haines is again seen in JITNEY JUNGLE GROCERIES the present vehicle but only as one The following specials good in all stores Saturday, August 30th: of an imposing group of stars, play- Jitney Jungle ers and directors, all of whom have a share in what, advance report has it, is the funniest of Hol- burlesque 10 lywood seen to date. -
Stardom: Industry of Desire 1
STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Ben-Hur Trivia
IMDb All | IMDb Apps | Help Movies, TV Celebs, Events News & & & Photos Community Watchlist Login Showtimes Edit Ben-Hur: A Tale of the Christ (1925) Ben-Hur: A Tale of the Christ Trivia Did You Know? Trivia Goofs Crazy Credits Showing all 38 items Quotes Alternate Versions Connections Despite the fact that there is nudity in this film, it was passed by censors of that time Soundtracks because it dealt with Christianity, as it was originating. 9 of 10 found this interesting | Share this Explore More Share this page: The troubled Italian set was eventually torn down and a new one built in Culver City, California. The famed chariot race was shot with 42 cameras were and 50,000 feet of film consumed. Second-unit director B. Reeves Eason offered a bonus to the winning driver. Like You and 217 others like this.217 people like The final pile-up was filmed later. No humans were seriously injured during the US Like this. Sign Up to see what your friends like. production, but several horses were killed. 7 of 8 found this interesting | Share this User Lists Create a list » Future stars Gary Cooper, Clark Gable, Joan Crawford, and Myrna Loy were uncredited Related lists from IMDb users extras in the chariot race scenes. Crawford and Loy also played slave girls. (ebop) 2015 Seen Movies: 1925 7 of 8 found this interesting | Share this 5, v. Google a list of 35 titles on June created 31 May 2012 in Garcia According to The Guinness Book of World Records (2002), thearchived movie contains the most edited scene in cinema history.