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August 26, 2014 (Series 29: 1) D.W
August 26, 2014 (Series 29: 1) D.W. Griffith, BROKEN BLOSSOMS, OR THE YELLOW MAN AND THE GIRL (1919, 90 minutes) Directed, written and produced by D.W. Griffith Based on a story by Thomas Burke Cinematography by G.W. Bitzer Film Editing by James Smith Lillian Gish ... Lucy - The Girl Richard Barthelmess ... The Yellow Man Donald Crisp ... Battling Burrows D.W. Griffith (director) (b. David Llewelyn Wark Griffith, January 22, 1875 in LaGrange, Kentucky—d. July 23, 1948 (age 73) in Hollywood, Los Angeles, California) won an Honorary Academy Award in 1936. He has 520 director credits, the first of which was a short, The Adventures of Dollie, in 1908, and the last of which was The Struggle in 1931. Some of his other films are 1930 Abraham Lincoln, 1929 Lady of the Pavements, 1928 The Battle of the Sexes, 1928 Drums of Love, 1926 The Sorrows of Satan, 1925 That Royle Girl, 1925 Sally of the Sawdust, 1924 Darkened Vales (Short), 1911 The Squaw's Love (Short), 1911 Isn't Life Wonderful, 1924 America, 1923 The White Rose, 1921 Bobby, the Coward (Short), 1911 The Primal Call (Short), 1911 Orphans of the Storm, 1920 Way Down East, 1920 The Love Enoch Arden: Part II (Short), and 1911 Enoch Arden: Part I Flower, 1920 The Idol Dancer, 1919 The Greatest Question, (Short). 1919 Scarlet Days, 1919 The Mother and the Law, 1919 The Fall In 1908, his first year as a director, he did 49 films, of Babylon, 1919 Broken Blossoms or The Yellow Man and the some of which were 1908 The Feud and the Turkey (Short), 1908 Girl, 1918 The Greatest Thing in Life, 1918 Hearts of the World, A Woman's Way (Short), 1908 The Ingrate (Short), 1908 The 1916 Intolerance: Love's Struggle Throughout the Ages, 1915 Taming of the Shrew (Short), 1908 The Call of the Wild (Short), The Birth of a Nation, 1914 The Escape, 1914 Home, Sweet 1908 Romance of a Jewess (Short), 1908 The Planter's Wife Home, 1914 The Massacre (Short), 1913 The Mistake (Short), (Short), 1908 The Vaquero's Vow (Short), 1908 Ingomar, the and 1912 Grannie. -
Missions and Film Jamie S
Missions and Film Jamie S. Scott e are all familiar with the phenomenon of the “Jesus” city children like the film’s abused New York newsboy, Little Wfilm, but various kinds of movies—some adapted from Joe. In Susan Rocks the Boat (1916; dir. Paul Powell) a society girl literature or life, some original in conception—have portrayed a discovers meaning in life after founding the Joan of Arc Mission, variety of Christian missions and missionaries. If “Jesus” films while a disgraced seminarian finds redemption serving in an give us different readings of the kerygmatic paradox of divine urban mission in The Waifs (1916; dir. Scott Sidney). New York’s incarnation, pictures about missions and missionaries explore the East Side mission anchors tales of betrayal and fidelity inTo Him entirely human question: Who is or is not the model Christian? That Hath (1918; dir. Oscar Apfel), and bankrolling a mission Silent movies featured various forms of evangelism, usually rekindles a wealthy couple’s weary marriage in Playthings of Pas- Protestant. The trope of evangelism continued in big-screen and sion (1919; dir. Wallace Worsley). Luckless lovers from different later made-for-television “talkies,” social strata find a fresh start together including musicals. Biographical at the End of the Trail mission in pictures and documentaries have Virtuous Sinners (1919; dir. Emmett depicted evangelists in feature films J. Flynn), and a Salvation Army mis- and television productions, and sion worker in New York’s Bowery recent years have seen the burgeon- district reconciles with the son of the ing of Christian cinema as a distinct wealthy businessman who stole her genre. -
Film Essay for "Broken Blossoms"
Broken Blossoms By Ed Gonzalez No dialectic approach to film form would be complete without discussing the innovations cultivated by D.W. Griffith and Sergei Eisenstein in the early 1900s. Just as Eisenstein’s radi- cal principles of montage would forev- er inform the way films were cut and consumed, Griffith’s equally essential narrative and aesthetic innovations were becoming overshadowed by the controversy surrounding his epic Civil War reconstruction epic “The Birth of a Nation.” Coincidentally, “Intolerance” would irrevocably inspire budding Soviet filmmakers like Eisenstein, Pudovkin, and Kuleshov when the film was shown in the USSR in 1919, and if Griffith’s legacy remains tarnished to this day, it’s impossible to fathom the state of modern cinema without the influence of his artistic advances, such as his refinement of such techniques as the iris shot, the mask, or the sim- ple flashback. Between 1908 and 1913, Griffith made over 450 films for the New York- Richard Barthelmess watches a sleeping Lillian Gish with adoration. based Biograph Company, perhaps none Courtesy Media History Digital Library . more memorable than the 17-minute one -reel “The Lonedale Operator,” about a substitute telegraph operator (played by Blanch love with a Chinese man, is often regarded and dis- Sweet) who must fend off a group of bandits. The missed as Griffith’s apology for his celebration of the film’s technical innovations were then unheard of, Klu Klux Klan in “The Birth of a Nation.” Because and upon its release the film was considered by “Broken Blossoms” is so earnest a portraiture of an some to be the most thrilling picture ever produced. -
Track 1 Juke Box Jury
CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper -
Film Essay for “The Wind”
The Wind By Fritzi Kramer “The Wind” is legendary for its raw emotional power, its skillful direction and the triumphant performances of its leads. Lillian Gish, Lars Hanson and director Victor Sjöström (credited during his time in Hollywood as “Seastrom”) had previously worked together on “The Scarlet Letter” (1926), a creative and commer- cial hit, and Gish had chosen a psychological west- ern written by Texas native Dorothy Scarborough as their next vehicle. The novel focuses on Letty, a so- phisticated Virginia girl who is forced to relocate to a remote ranch in Texas. Driven to the brink of mad- ness by the harsh weather and unceasing wind, Letty’s situation becomes worse when circumstanc- es force her to accept a marriage proposal from Lige, a rough cowboy. Roddy, a sophisticated city man, takes advantage of Letty’s fragile mental stage and rapes her. Letty responds by shooting him and then races outside, giving herself to the wind. It’s easy to see the appeal of this intense work, especial- ly in the visual medium of silent film. Gish later wrote that playing innocent heroines, roles she sarcastically described as “Gaga-baby,” was an enormous challenge.1 So much sweetness and light could quickly bore audiences if it wasn’t played just right but a villain could ham things up with impunity. Gish had dabbled in different parts, playing a street- wise tenement dweller in “The Musketeers of Pig Alley” (1912) and a heartless vamp in the lost film “Diane of the Follies” (1916), but film audiences were most taken with her more delicate creations. -
George Eastman Museum Annual Report 2018
George Eastman Museum Annual Report 2018 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 8 Photography Workshops 9 Loans 10 Objects Loaned For Exhibitions 10 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 30 Technology 32 George Eastman Legacy 34 Richard and Ronay Menschel Library 48 Purchases for the Collections 48 Photography 48 Moving Image 49 Technology 49 George Eastman Legacy 49 Richard and Ronay Menschel Library 49 Conservation & Preservation 50 Conservation 50 Photography 50 Technology 52 George Eastman Legacy 52 Richard and Ronay Menschel Library 52 Preservation 53 Moving Image 53 Financial 54 Treasurer’s Report 54 Fundraising 56 Members 56 Corporate Members 58 Annual Campaign 59 Designated Giving 59 Planned Giving 61 Trustees, Advisors & Staff 62 Board of Trustees 62 George Eastman Museum Staff 63 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2018. MAIN GALLERIES HISTORY OF PHOTOGRAPHY GALLERY Stories of Indian Cinema: A History of Photography Abandoned and Rescued Curated by Jamie M. Allen, associate curator, Department of Photography, and Todd Gustavson, exhibitions, Moving Image Department curator, Technology Collection NovemberCurated by 11,Jurij 2017–May Meden, curator 13, 2018 of film October 14, 2017–April 22, 2018 Nandita -
Cinefiles Document #5962
Document Citation Title D.W. Griffith touring show Author(s) Tom Gunning Ron Mottram Source Museum of Modern Art (New York, N.Y.) Date 1975 Type program note Language English Pagination No. of Pages 40 Subjects Griffith, D. W. (1875-1948), LaGrange, Kentucky, United States Film Subjects The fugitive, Griffith, D. W., 1910 The white rose, Griffith, D. W., 1923 Intolerance, Griffith, D. W., 1916 Broken blossoms, Griffith, D. W., 1919 Orphans of the storm, Griffith, D. W., 1921 America, Griffith, D. W., 1924 A corner in wheat, Griffith, D. W., 1909 Hearts of the world, Griffith, D. W., 1918 The avenging conscience, Griffith, D. W., 1914 Isn't life wonderful, Griffith, D. W., 1924 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) The birth of a nation, Griffith, D. W., 1915 The girl and her trust, Griffith, D. W., 1912 The girl who stayed at home, Griffith, D. W., 1919 Way down east, Griffith, D. W., 1920 What shall we do with our old?, Griffith, D. W., 1911 Those awful hats, Griffith, D. W., 1909 Enoch Arden, Griffith, D. W., 1911 The honor of his family, Griffith, D. W., 1910 The painted lady, Griffith, D. W., 1912 The lady and the mouse, Griffith, D. W., 1912 The musketeers of Pig Alley, Griffith, D. W., 1912 The unchanging sea, Griffith, D. W., 1910 True heart Susie, Griffith, D. W., 1919 The battle at Elderbush Gulch, Griffith, D. W., 1914 An unseen enemy, Griffith, D. W., 1912 The struggle, Griffith, D. W., 1931 The mothering heart, Griffith, D. -
Dw Griffith: American Film Master
he Museum of Modern Art 3/8/65 Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart PROGRAM D. W. GRIFFITH: AMERICAN FILM MASTER The films listed are all directed by Griffith, except where otherwise noted. PART. I \ April 25-28: 1907 RESCUE) FROM AN EAGSUB'S NEST, Edison, directed by Edwin S. Porter; with D. W. Griffith. 1909 THE LONELY VILLA, Biograph; with Mary Pickford, Marion Leonard. 1911 THE LONEDALE OPERATOR, Biograph; with Blanche Sweet, Wilfred Lucas• 1912 THE GIRL AND HER TRUST, Biograph; with Dorothy Bernard, Wilfred Lucas. 1913 OLAF - AN ATOM, Biograph; with Harry Carey (director unknown, but probably D. W. Griffith). Biograph films: April 29- 1909 A DRUNKARD'S REFORMATION, with Linda Arvidson, Arthur Johnson. May 1: 1909 A CORNER IN WHEAT, with Frank Powell, Henry Walthall. 1910 THE USURER, with Grace Henderson, George Nichols. 1911 THE MISER'S HEART, with Edward Dillon, Wilfred Lucas. 1912 THE MUSKETEERS OF PIG ALLEY, with Dorothy and Lillian Gish. May 2-5: 1912 MAN'S GENESIS, Biograph; with Mae Marsh, Robert Harron. 1913-lil- JUDITH OF BETHULIA, Biograph; with Blanche Sweet, Henry Walthall. May 6-8; 1911 ENOCH ARDEN, Biograph; with Linda Arvidson, Wilfred Lucas. 1911* HOME, SWEET HOME, Mutual; with Lillian Gish, Henry Walthall, Mae Marsh, Robert Harron, Blanche Sweet, Owen Moore. May 9-12: 1912 THE GODDESS OF SAGEBRUSH GULCH, Biograph; with Blanche Sweet, Dorothy Bernard, Charles West. 19114. THE AVENGING CONSCIENCE, Mutual; with Blanche Sweet, Henry Walthall, Spottiswoode Aiken. May I3-I5: 1915 THE BIRTH OF A NATION, Epoch; with Lillian Gish, Mae Marsh, Henry Walthall, Robert Harron, Elmer Clifton, Ralph Lewis. -
Summer 2016 National Gallery of Art Summer 2016
Film Summer 2016 National Gallery of Art Summer 2016 9 Special Events 14 Recovered Treasure: UCLA Festival of Preservation 18 The Grandest Spaces: Picturing Museums 24 Black Maria at Thirty-Five: Selections from the Festival 25 The Inner Landscapes of Bruce Baillie 28 Shakespeare as Cinematic Experiment: 1908 – 1921 31 Synchronized Pantomimes / Early Animations J. L. Anderson Cinematic rarities and restorations fill the summer Spring Night, Summer Night, 1967 film season at the National Gallery of Art, start- p16 ing with the series Recovered Treasure: UCLA Festival of Preservation. To celebrate the four- hundredth anniversary of Shakespeare’s death in 1616, the Gallery presents Shakespeare as Cinematic Experiment: 1908 – 1921, a unique opportunity to witness the earliest attempts to transfer Shakespearean performance from stage to screen. The Grandest Spaces: Picturing Museums includes a number of recent feature documentaries and essays about museums from a vast range of perspectives. The series has been organized to coincide with the Gallery’s seventy-fifth anniversary. Once again, the Gal- lery welcomes the opportunity to screen award- winning new shorts from the Black Maria Film Festival, one of the world’s premier showcases for the short form. The Inner Landscapes of Bruce Baillie looks at this artist’s groundbreaking avant-garde works from the 1960s and 1970s. Synchronized Pantomimes / Early Animations is a unique program focusing on the importance of pantomime and music in the earliest years of cinema. Special events this season include the Washington premieres of José Luis Guerín’s The Academy of Muses and Le Saphir de Saint- Louis, Thom Andersen’s The Thoughts That Once We Had, The Seasons in Quincy: Four Portraits of John Berger, and a number of unusual ciné-concerts, including Menschen am Sonntag, early animations by Catalan artist Segundo de Chomón, and D. -
DW Griffith: Cinema's Great Pioneer
DW Griffith: Cinema’s Great Pioneer Thursday 30 April 2015, London Throughout June BFI Southbank will host a month-long season dedicated to DW Griffith; described as the ‘Father of Film’ and the ‘Teacher of Us All’ by Lillian Gish and Charlie Chaplin respectively, Griffith was one of the greatest filmmakers of the silent-era. The season will re-examine his complex legacy, including his most famous film The Birth of a Nation (1915), a three-hour epic which was rightly accused of racism. Also screening in the season will be his first film as director The Adventures of Dollie (1908), the influential Intolerance (1916), his first talkie Abraham Lincoln (1930) and a three-part documentary from celebrated film historians Kevin Brownlow and David Gill, DW Griffith: Father of Film (USA-UK, 1993). As the ‘Father of Film’ Griffith pioneered film language which audiences now take for granted, from the use of close-ups for dramatic effect to parallel cutting (alternating two or more scenes that often happen simultaneously but in different locations). As the centenary of The Birth of a Nation (1915) is marked by a major international conference at University College London (UCL), the season will offer audiences a chance to re-evaluate Griffith’s most famous film with The Birth of a Nation at 100: A Roundtable Discussion. The roundtable will gather highly regarded keynote speakers from the UCL conference to present a contemporary assessment of this highly controversial and racist film a hundred years on. The season will also include a number of films starring Griffith’s favourite actress Lillian Gish. -
The Tudors and the Post-National, Post-Historical Henry VIII
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Glynn, Basil ORCID: https://orcid.org/0000-0001-5880-6486 (2016) The Tudors and the post-national, post-historical Henry VIII. In: The British Monarchy on Screen. Merck, Mandy, ed. Manchester University Press, Manchester, pp. 309-335. ISBN 9780719099564, e-ISBN 9781526113047. [Book Section] (doi:10.7765/9781526113047.00025) Published version (with publisher’s formatting) This version is available at: https://eprints.mdx.ac.uk/19681/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. -
Lillian Gish
Lillian Gish Lived: October 14, 1893 - February 27, 1993 Worked as: director, film actress, screenwriter Worked In: United States by Mark Garrett Cooper In 1920, Lillian Gish both delivered a landmark performance in D.W. Griffith’s Way Down East and directed her sister Dorothy in Remodelling Her Husband. This was her sole director credit in a career as a screen actor that began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987. Personal correspondence examined by biographer Charles Affron shows that Gish lobbied Griffith for the opportunity to direct and approached the task with enthusiasm. In 1920, in Motion Picture Magazine, however, Gish offered the following assessment of her experience: “There are people born to rule and there are people born to be subservient. I am of the latter order. I just love to be subservient, to be told what to do” (102). One might imagine that she discovered a merely personal kink. In a Photoplay interview that same year, however, she extended her opinion to encompass all women and in doing so slighted Lois Weber, one of Hollywood’s most productive directors. “I am not strong enough” to direct, Gish told Photoplay, “I doubt if any woman is. I understand now why Lois Weber was always ill after a picture” (29). What should historical criticism do with such evidence? By far the most common approach has been to argue that Gish did not really mean what the press quotes her as saying. Alley Acker, for instance, urges us not to be fooled by Gish’s “Victorian modesty” and goes on to provide evidence of her authority on the set (62).