Uniortr^I Xintjofsovedy L/IKLLC Home of the Mirror Screen Am 4 JOHN WRAY

Total Page:16

File Type:pdf, Size:1020Kb

Uniortr^I Xintjofsovedy L/IKLLC Home of the Mirror Screen Am 4 JOHN WRAY AMUSEMENTS. THE SUNDAY STAR. WASHINGTON. D. C., NOVEMBER 2. 1930—PART FOUR. AMUSEMENTS. 3 Photoplay Attractions PHOTOPLAYS AT WASHINGTON THEATERS THIS WEEK Broadway’s Musical Shows Wednesday Thursday Friday Saturday By Percy Hammond PALACE—"DuBarry, Woman of Pas- Lytell is seen under arrest, and the November t Sunday Monday Tuesday ' country ~ Mary Mary Lawlor TB . in Loretta In Loretta Yount In Lawlor sion." prime minister of a foreign T Loretta Yount " Yount " Pase« ° •' ®n!. f.rW?t ,ons finds a The AboUt Th AboUt The h About •• before the first act ends In complishment fruitful with laughter. —'v promises him freedom if he «” " -oooVNrw, oo^K. - y-/1 ÜBARRY, Woman of Fas- embassy Ambassador *M” Youth -aJW” variety. the knowing sion,” means of opening a safe in the Iftth Rd. Comedy. Comody. Comody. Vitaphone variety. Vitaphon* Comfdy. mustcal comedy One of the troubles of “Three’s a ••l | Norma Talmadge’s ring ft Columbia waits bringing to him the in Barrymore John Barrymore Oeorte In B playgoer leaves his seat and I I now starring picture for and back V Ramon”Novarro Fn Ramon Novarrn John O'Brien .he r)n«n« •• North, Crowd" is that when you are hoping guarded therein. The Lone Wolf meets "Call o( the Flesh.” "Call of the Flesh." in In Last of the Duanes. Last of the Duanes. Men of the ¦ in the foyer until the second act JL-*/ United Artists, a Sam Tay- rtpoiioAnn in -'Moby Dick.” "Moby Dick.” Comedy Comedy. Variety. you are Patsy Miller, quest of the cartoon. Cartoon. Comedy. variety. variety. JUSTbegins, is then that the cus- that Mr. Allen will appear dis- Ruth also in Comedy. Vitaphon* Vitaphone it lor production, is the Comedy. Comedy. Serial. _ cur- ring When the man manages to get «et R Rt. N.E. tomary misunderstanding occurs be- appointed by the emrer.ca ot Hol- rent feature at Loews Palace Theater. Greta Ann Pennington and Jack Oakle Sallle O'Neill and The Marx Brothers Armida and back to the Garbo in the and the heroin? in 10 The story concerns a conflict between the ring it is only to give it A .Li.- Dark in Arthur Lake in in Jack Etan in Don Terry in tween hero man or Mr. Webb. I am. of course, girl and the prime minister. ASIHOn "Rommre" "Tanned Lets" "Let's Go Native.” "Broadway Scandals.” "Animal Crackers.” "Border Romance.” minutes or so of lament and recrimina- love and luxury in a woman’s experi- not to subjects. Defender." Bhort subjects. for myself few others. picture, by 1 Clarendon. Va. Short, subjects. Short subjects. Short "The Lone Bhort subjects. seen numerous speaking and a ence. Its locale is Paris at the height The directed Richard. Nugent tion. The habitue has it . in Grant Withers in Elliott. and Gilbert Roland in story , A. A1 Jolson changes, Holman, opulent Boleslavsky, was adapted from the I : John McCormick John McCormick Jolson in Holiday. Sally times, but seldom with any and Miss an brunette of that romantic i Avalnn in in "Bla Bov” "Big Boy. Sinners Starr in Men of the North. city’s splendor. The by Louis Joseph Vance. MVdIUII -Song o- My Heart.” "Sons o’ MyITrart.” Comedy. Comedy Comedy. ”For the Love o’ Lii." Comedy. so he absents himself from the monoto- from Cincinnati, is celebrated for her The program also Includes the latest SHIS Conn. Ave. Vif.»phone variety. Vitaphone variety. Vitaphone variety. Vitaphone variety. Vitaphone variety. vitaphone variety. Serial. nous foimula and seeks refreshment in beauty and for the tragic enthusiasm settings - were cre- Vitaphone Doug Mary Mary Lawlor Speak by Ripley "Believe It or Not” }j a >i j John Barrymore John Barrymore Doug Fairbanks. Jr., Fairbanks. Jr.. Lawlor in in "Africa s" the open air. Musical comedy romance with which she moans the songs. Once ated William Looney in "One Night at in “One Night at "Good News Good News Comedy. Variety, " Menzies, the Tune cartoon I Ave.w brand in in Vitaphone„ variety. Vitaphone variety. is dire at any time, and in the finale in "Three s a Crowd” she impersonates Cameron comedy, "Moby Dick "Moby Dick." Susie s." Susie's.” ’'lndians Are Com- the Educational “Don’t Give , I lif'Ea. Are. R E- VHaphone variety. Vitaphone variety Vitaphone variety. Vitaphone variety. Comedy. Comedy. 4L_ preceding the intermission it is at its a lowly seaport lass as she is about to supervising art di- Up" and The Evening rector of the Unit- 1 ¦ Star-Universal; : John McCormack In John McCormack in Milton Sills and Milton Sills and Helen Kane in Buffalo Bill. Jr. In worst. At such a moment librettists and be deserted by her pet sailor. I was newsreel, with Graham McNamee. Dark. "Song o' Mv Heart.” "Song o' My Heart.’ Dorotny Maekalli In Dorothy Mackatll In Dangerous Nan "South o» Sonora.’ it ready tears at ed Artists Studios 1 VaUICUI amen McGrew. composers abandon their work and let to burst into this pathetic ( Comedv. Comedy. "Man Trouhle.’’ "Man Trouble.’ Serial. They on in Hollywood. | Comedy. Cartoon. Comedy. Cartoon. Comedy. Cartoon. _Comedy find its lowest levels. walk out separation when I got a glimpse of Miss Mt. Rainier. Md. News. News. ” COLUMBlA—‘’Whoopee.” " it, as the sagacious members of Holman's flashy finger They In the cast are _ ", Loll Chaney Charles (Buddy) Ramon Novarro do more nails. had k Eddie Cantor s starring I Sophie Tucker in Greta Garbo in , ln the audience, regarding it as tiresome b~en dyed in what Ma Sunday used to • , Walter Huston in Walter Huston in in - . Conrad Nagel, Wil- \\7HOOPEE,”’’ farnina ’Safety production Artists, is Carolina Bad Man.” "The Bad Man.” "The Unholy "Honky Tonk." "Rough Romance.’ in Num- "Call of the tradition too strong to b? overcome. call the devil’s colors, 10 scarlet flam- liam Farnum, Al- for United j "The ” lison Slt i pworth, the current attraction at Loews Co- ilth A N.C. Ave. B.E. Three The fact that • Girl Crazy" deviates beaus not at all appropriate to the by ' . Bert Wheeler Bert Wheeler and Ben L.von tn Ben Lyon ln George Arllss Joan Bennett Dorothy Mackaiil sings Haupt, lumbia. The picture was produced and in *" ' from this hopeless design is one of the scene. Miss Holman a well known Ullrich Ed- Woolsey Robert, Woolsey Want.” "What Men Want.” . n ln ln "What Men „ V/CMII Robrrt „ encouraging Soul,” gar Norton and Florcnz Ziegfeld with the original cast. centralai Shot Sun- "Half Shot at Sun- Comedy. Comedy. ’Old English. Maybe Its Love. ‘ Man Trouble.’ several reasons for its London song, “Body and bodily "Half at ” production technicolor, " Variety Variety. Vitaphone variety. vitaphone variety. Cartoon. Comedy. Vitaphone variety. popularity. a operetta Hobart Posworth. The entire Is In 45. X Bth Rt.J N.W. rise rise It is frontier and soulfully. Henry Sant rey said to be of a new and perfected va- John~Wrn y“ and John Wray and Bue~Caroi and The Marx Brothers The Marx Brothers Buster Keaton. George O'Brien and dealing in a brash Broadway fashion For my impressions of Mr. Webb Iask riety. on the PBetty Compson Betty Compson Arthur Lake ln with Lillian Roth with Lillian Roth Cliff Edwards and Mvrna Loy in song, and his "Soldiers This version is based CirCIC ’ My in in Bally Ellers in “Last of the with the danc? and sentiment in- forgiveness. He can dance and he is ln She's ”Weak- " " ” slim, of Fortune” are I book and play ’ The Nervous Wreck.” 5105 Pa. Ave. N.W. "Czar of Broadway." "Czar of Broadway ness "Animal Cracker* ’’Animal Crackers .” "Dough Bovs Duanes digenous to life on a dude ranch in the graceful, beautiful and obliging | Eleanor leading woman Murray Speaks" by Wyoming beyond belief. His are the stage attrac- Ncrma Talmadge. | Hunt is Cantor’s . XI Jolson A1 Jolson Gloria Swanson Gloria Swanson ken Frank Albertson "Africa far interior. Inspired its costumes cathe- this : in the production. I nlnnv in in in in in in Comedy. breezes its authors contrive a new type drals of tailoring, the result of a long tion for week. „ Company.” The costumes required for "Whoopee” | LUIUIIJT blr bo».” "Big Bov.” "What a Widow.” "What a Widow.” “Leathernecking.” “Wild "Indians Are Com- of climax. Thus Miss Ginger Rogers as and a religious study of garment archi- The bill is a diversified one. Comedy. Comedy. Vitaphone variety. Vttaphonejiariety. Vitaphon* variety. Comedy. ing.” No. 1. were designed by one ,j sa. Ave. X Farragnt a or Arizona try as 1 John Harkrlder. ' and The Four Marx Mary Astor and Jack Mulhall and Montana perhaps an tecture. But I do to enlov him of paint- i . Buster Keaton Corinne Griffith Chief Yellow Robe The Four Marx as RIALTO—"Eyes of the World.” | j America's distinguished young j in in Chief Lour Lance in Brothers ln Brothers in Lloyd Hughes in Lila Lee in ingenu? falls in love with Alan Kearns vocalist or comedian I fail. HLx imi- the) I MUtllUdlMumhTrfnnIUII Enemy." Crackers.” Crackers.” "The Runaway targt away ers. Mrs. Harkrider has created I "Dough Boys.” "Back Pay.” "The Silent "Animal "Animal ’’Murder Will Out.” as an attractive New York debauchee. tation of Rudy Vallee, a fair for AN arboreal spot hidden in the settings Comedy. Comedy. Comedy. Comedy. Comedy. Bride.” Comedy. ** ! artistic for most of the Ziegfeld 1513 Wisconsin Ave. They disagree at 10 p.m. as usual. But any satirist, is as incompetent a botch depths of the Santa Ynez Canyon ¦ shows of the past five years. ' Garv Cooper and Gary Cooper and Mary Nolan in Richard Arlen ln Richard Arlen ln Bebe Daniels in Hoot Gibson in instead of following the routine pre- as I have ever seen in a revue.
Recommended publications
  • Inside Facts of Stage and Screen (September 20, 1930)
    — STAGE PRICE 10 RADIO \ CENTS SCREEN Only Theatrical Newspaper on the Pacific Coast MUSIC ESTABLISHED 1924 EDITED BY JACK JOSEPHS Entered as Second Class Matter, April 29, 1927, at Post- Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII office, Los Angeles, Calif., under Act of March 3, 1879. Saturday, September 20, 1930 town Building, 401 West Seventh St., Los Angeles, Calif. No. 12 LOCAL PREVIEWS ‘OUT’ MARATHON UNFINISHED DANCES IN FILMS GET BIG SPURT ‘PAN’ HERE Marathon dances, considered Elimination of previews of dead stuff around here and talking pictures in the vicinity which certain officials in the of Hollywood was a decision city have frowned upon, took a of the movie industry this sudden leap with the long dic- week. tance dance which Bill MeikeB Instead, advance public show- john promoted at the Casino in ings of pictures are to be given Balboa Beach. in San Francisco, San Diego, San Bernardino and other Contest endured for of a period points considerably distant from 1226 hours, and wound up in ex- the movie capital. citement and packed houses that, Too many wise ones in the in- notwithstanding the large overhead dustry, and their friends, have been and slow start, made a big profit for attending the local previews, and the promoters. making smart cracks about films, During last few hours of the not yet cut or actually finished. dance, excited spectators threw As' a result, many good pictures $2200 on the floor for the be- have been given the “black-eye” draggled dancers, which was in from these premature swats.
    [Show full text]
  • The Inventory of the Joan Fontaine Collection #570
    The Inventory of the Joan Fontaine Collection #570 Howard Gotlieb Archival Research Center TABLE OF CONTENTS Film and Video 1 Audio 3 Printed Material 5 Professional Material 10 Correspondence 13 Financial Material 50 Manuscripts 50 Photographs 51 Personal Memorabilia 65 Scrapbooks 67 Fontaine, Joan #570 Box 1 No Folder I. Film and Video. A. Video cassettes, all VHS format except where noted. In date order. 1. "No More Ladies," 1935; "Tell Me the Truth" [1 tape]. 2. "No More Ladies," 1935; "The Man Who Found Himself," 1937; "Maid's Night Out," 1938; "The Selznick Years," 1969 [1 tape]. 3. "Music for Madam," 1937; "Sky Giant," 1938; "Maid's Night Out," 1938 [1 tape]. 4. "Quality Street," 1937. 5. "A Damsel in Distress," 1937, 2 copies. 6. "The Man Who Found Himself," 1937. 7. "Maid's Night Out," 1938. 8. "The Duke ofWestpoint," 1938. 9. "Gunga Din," 1939, 2 copies. 10. "The Women," 1939, 3 copies [4 tapes; 1 version split over two tapes.] 11. "Rebecca," 1940, 3 copies. 12. "Suspicion," 1941, 4 copies. 13. "This Above All," 1942, 2 copies. 14. "The Constant Nymph," 1943. 15. "Frenchman's Creek," 1944. 16. "Jane Eyre," 1944, 3 copies. 2 Box 1 cont'd. 17. "Ivy," 1947, 2 copies. 18. "You Gotta Stay Happy," 1948. 19. "Kiss the Blood Off of My Hands," 1948. 20. "The Emperor Waltz," 1948. 21. "September Affair," 1950, 3 copies. 22. "Born to be Bad," 1950. 23. "Ivanhoe," 1952, 2 copies. 24. "The Bigamist," 1953, 2 copies. 25. "Decameron Nights," 1952, 2 copies. 26. "Casanova's Big Night," 1954, 2 copies.
    [Show full text]
  • Jim,My Lucas Marjorie Macgregor Michele Morgan Patty Orr Bela Lugosi Frank Mchugh Ralph Morgan William Orr Keye Luke Robert Mcji
    Jim,my Lucas Marjorie MacGregor Michele Morgan Patty Orr Bela Lugosi Frank McHugh Ralph Morgan William Orr Keye Luke Robert McJimcy Patricia Morison Orv ilia Lum &Abner Silvia McKay Maro and Yocanella Maureen O'Sullivan Bill Lundigan Fay McKenzie Amarillo Morris Madame Ouspenskaya The Luther Twins Victor McLaglen Chester Morris Lynne Overman Diana Lynn Barton MacLane Ella May Morris Charles Overman Jeffrey Lynn Fred MacMurray Lili Morris Charles Owens Mary Lynn Haven MacQuarrie Zero Mostel Gene Owens Dorothy McQuire Alan Mowbray Jack Owens Eve McVeigh Paul Muni Rita Owin Jeanette MacDonald Martha Mears Ethel Madison Ona Munson Jane Melardy Corinna Mura Marjorie Main P-38's (Dancers) Melody Girls George Murphy Sally Paine Jerry Mann Harry Mendosa Rose Murphy John Pallett Marjorie Manners Adolphe Menjou Senator Murphy Cecilia Parker Martha Manners Johnny Mercer Ken Murray Eleanor Parker Philip Merivale Irene Manning Clarence Muse Hats Parker Virginia Maples Lynn Merrick Music Maids Lou Merrill Jean Parker Adele Mara Carmel Myers Jetsy Parker Frederic March Merry Macs Mary Ellen Myron • Murray Parker Dorie Marie Ray Middleton Odette Myrtil Parkyakarkus Mona Marris Ray Milland Patsy Lee Parsons June Marlowe Ann Miller Anne Nagel Gail1Patrick Nancy Marlowe Miller & Barlow Conrad Nagel Vera Marsh Edwin Miller Richard Paxton Cliff Nasarro John Payne Herbert Marshall Glenn Miller (·Orch.) Nasimova Mary Martin Jimmie Miller Al Pearce Charles Neff Neva Peoples Tony Martin Lorraine Miller Ossie Nelson Barbara Pepper Johnny Marvin Sidney Miller John Nesbit Buddy Pepper Chico Marx Mills Brothers Nicholas Brothers Tommy Perry Groucho Marx Minne & Billy Nicodemus Susan Peters Harpo Marx Carmen Miranda Gertrude Niessen Mrs.
    [Show full text]
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Master Syllabi
    PELLISSIPPI STATE TECHNICAL COMMUNITY COLLEGE MASTER SYLLABUS INTRODUCTION TO FILM STUDIES HUM 2810 Class Hours: 3.0 Credit Hours: 3.0 Laboratory Hours: 0.0 Date Revised: Spring 03 Catalog Course Description: An overview of film history using selected world cinema feature films. Basic elements of film expression for understanding and analyzing narrative cinema. Some research is required. Entry Level Standards: Students must be able to read and write at the college level. Prerequisites: None Corequisites: None Textbook(s) and Other Reference Materials Basic to the Course: Text: Understanding Movies Films: in Media Center I. Week/Unit/Topic Basis: Week Topic 1 Note: Different film genres may be studied each semester. The following schedule outlines the classic mystery film genre. Introduction to course and syllabus - Best 100 films- Why study film? Various approaches to film study - Detective/mystery/crime genre in films; Technological factors behind film - Lumiere films (1895) - Melies film (1905); Homework: Read Understanding Movies, pages xi-17 Discuss Film Classification and Shots; Discuss factors in "Formalist Analysis of Classic Film Style "(handout); Screening: Musketeers of Pig Alley (1912, D.W. Griffith) 18 min.; Homework: Read pages 133-154, "Editing" 2 Discuss Continuity and Cutting; "Hollywood Behind the Badge" (police, crime, mystery genre films); Schedule a research paper; Homework: Read 112-123, "The Moving Camera" Oral research report (D.W. Griffith, Buster Keaton, Charlie Chapman); Discuss 7 Moving Camera Shots, etc.; Screening:
    [Show full text]
  • Journal of Religion & Society
    Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate.
    [Show full text]
  • Recommended Films: a Preparation for a Level Film Studies
    Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’.
    [Show full text]
  • In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
    In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity.
    [Show full text]
  • PDF Download Buster Keaton : the Persistence of Comedy Ebook Free
    BUSTER KEATON : THE PERSISTENCE OF COMEDY PDF, EPUB, EBOOK Imogen Sara Smith | 284 pages | 24 Nov 2013 | Createspace Independent Publishing Platform | 9781494285593 | English | none Buster Keaton : The Persistence of Comedy PDF Book For the businessmen who were to make the final decision, one fact loomed above all others: features made more money. What about when the door hits him and he walks up and down holding his face? She has written on topics ranging from photography and painting to cinema history. Schenck Director: Edward F. The best book on Keaton in print-- and I've read most of them. Options as a Strategic Investment by Lawrence G. Dark Passages Hotel Noir From the squalid to the generic, cheap hotels serve as a quintessential habitat for the lonely, transitory people in crime cinema. Opposing qualities of irony and sweetness, logic and absurdity, passion and impassiveness don't just coexist in Keaton's films and character, they are fused so completely that it is impossible to see where one ends and the other begins. He briefly launches into an Erich von Stroheim impression during one of these scenes. Trade Paperback Books. Subscribe today. Yes it's magic but it's not often a good biography because it can be fawning, obsequious or just plain sickening. In addition, the two codirected The Rough House , a comedy short in which they also starred. Show More Show Less. Please refer to the appropriate style manual or other sources if you have any questions. Hart and, well, I am a bit annoyed. At least, this is how it has appeared to scholars.
    [Show full text]
  • The Last Days of Buster Keaton John C. Tibbetts
    Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies.
    [Show full text]
  • Forgotten Film. Teaching Notes
    FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 FORGOTTEN FILM: FROM BEGINNINGS TO "TALKIES" de Rosa Maria Andrés Blanch està subjecta a una llicència de Reconeixement-NoComercial-SenseObraDerivada 3.0 No adaptada de Creative Commons http://creativecommons.org/licenses/by-nc-nd/3.0/ TOPIC: FORGOTTEN FILM. FROM BEGINNINGS TO “TALKIES” UNIT 1: PRECINEMA INTRODUCTION Timing :1h INTRODUCTION AIMS: Predicting and activating prior knowledge about Cinema and English language. UNIT 1. ACTIVITY 1. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. Student’s Workbook • There is no need to correct it. Page 2 INTRODUCTION UNIT 1. ACTIVITY 2. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs. • Students ask their partners how often they go to the cinema. • ANSWER KEY: I go to the never He/She goes cinema a week to the once I go a month cinema twice a year Student’s Workbook three Page 3 a week to the four He/She goes times a month cinema five a year more than five • Ask the students to read answers in plenary. • Correct students spelling and write answers on the board. Rosa Maria Andrés Blanch 2011 IES VIlatzara 1 FORGOTTEN FILM FROM BEGINNINGS TO “TALKIES ” TEACHING NOTES UNIT 1 INTRODUCTION UNIT 1. ACTIVITY 3. INTRODUCTION MANAGEMENT/PROCEDURE RESOURCES • Students work first individually and then in pairs to compare and share information. • WORDSEARCH. There are 10 words related to cinema. • ANSWER KEY R T F G W S M Q S A R V D G R H D P I O J G F I X S A D I F G H V J K S C A M E R A S G C I P U Student’s Workbook V N E Z E S V B N L E A Page 4 B I F H C J U Y P L E L N M R S T O R Y F U B E Power Point Y A N S O A Z X F S V F UNIT1:Precinema U T B G R Q O S A I X F Slide 1: Wordsearch O I D F G E U J K O A E Slide 2: Key to L O T S C E N E O N L C wordsearch M N E G H J K W A C M S R E C O R D I N G F A J Across : cameras, story, scene, recording.
    [Show full text]
  • Cartooning America: the Fleischer Brothers Story
    NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
    [Show full text]