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The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. -
Best Enjoyed As Property, Shoe and Hairdo Porn.”
”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Rauno Sainio Tampere University School of Language, Translation and Literary Studies English Philology Pro Gradu Thesis May 2011 ii Tampereen yliopisto Englantilainen filologia Kieli-, käännös- ja kirjallisuustieteiden yksikkö SAINIO, RAUNO: ”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Pro gradu -tutkielma, 135 sivua + liite (6 sivua) Kevät 2011 Tämän pro gradu -tutkielman tarkoituksena oli tutustua eri menetelmiin, joiden avulla englannin kielen sanastoa voidaan laajentaa. Lähdekirjallisuudesta kerättyä tietoa käsiteltiin tutkielman teoriaosuudessa, minkä jälkeen empiirinen osuus selvitti, kuinka kyseisiä menetelmiä sovelletaan käytännössä nykyenglannissa. Tämän selvittämiseksi käytiin manuaalisesti läpi korpusaineisto, joka koostui isobritannialaisen Total Film -elokuvalehden yhden vuoden aikana julkaistuista numeroista. Elokuvajournalismissa käytettävä kieli valittiin tutkimuksen kohteeksi kirjoittajan henkilökohtaisen kiinnostuksen vuoksi sekä siksi, että elokuva on paitsi merkittävä, myös jatkuvasti kehittyvä taiteen ja populaarikulttuurin muoto. Niinpä tämän tutkielman tarkoitus on myös tutustuttaa lukija sellaiseen sanastoon, jota alaa käsittelevä lehdistö nykypäivänä Isossa-Britanniassa käyttää. Korpuksen pohjalta koottu, 466 elokuva-aiheista uudissanaa käsittävä sanaluettelo analysoitiin -
Arturo Toscanini and Don Gillis in Rehearsal, Don Gillis Collection, University of North Texas
Arturo Toscanini and Don Gillis in rehearsal, Don Gillis Collection, University of North Texas. Reproduced with permission. MARK MCKNIGHT, SUSANNAH CLEVELAND Rediscovering “Toscanini: The Man Behind the Legend” The following article is based on the authors’ presentation at the ARSC Conference in Austin, TX, April 2005. The focus is on the Don Gillis Collection, which the University of North Texas (UNT) Music Library acquired after Gillis’s death in 1978. Gillis, a longtime associate of Arturo Toscanini, served as the conductor’s assistant and the producer for the NBC Symphony broadcast concerts from 1944 until they ended ten years later. The photographs that illustrate this article are from the collection and are reproduced with permission. __________________________________________________________________________________ he story of Arturo Toscanini’s rise to fame as one of history’s most celebrated con- ductors is well known. Having spent the first several years of his professional life in T the opera pit, Toscanini then gained a reputation for his symphonic conducting, serving as principal conductor of the New York Philharmonic from 1929 to 1936. When he left that post and retired to his native Italy, his American fans believed they would never again see the maestro conduct here. At the age of 70, however, when most individuals are happily settled into retirement, Toscanini returned to the podium, this time in a completely new and, in some ways controversial, forum, as head of the recently organized NBC Symphony. He would remain with the orchestra until his final departure in 1954. Toscanini died three years later in New York, just two months before his ninetieth birthday. -
£J^=^^^Tar-Bfight of the Ask Could for a New and Sharper Party
THE EVENING STAR, Washington, D. C. C-6 WKPWMDAT, SXPTKMBKa I, 10*4 The Passing Show : f¦¦ ||ff' Hitchcock's Wizard Touch -1 ¦ {s f ; A picture to be S |;i.l i At Best in 'Rear Window' S%tlv; "' I I seen and enjoyed 9 ; By Joy Cormody , PL JB' by sli. ’-N Y. Post 9 mm Alfred Hitchcock, a wizard at finding the exciting angle from * which to view life, comes up with one of his all-time bests in H “Rear Window" at the Playhouse Theater. ' l Rarely has Hitchcock entertaining as act • Hf been in this of so - ¦ turning moviegoers into unabashed Peeping Toms. What he does YEARS... i* Is lot. tin hit ratnpra —with telesnnnta Ten* nn lass—ln the winrinv Gaia news for apartment * of a court and photo- 4 • graph moviegoer*.” the most intimate and “REAR WINDOW." •’ Paramount pic- jffflSiß ture. produced and directed by fHBIK.. revealing Alfred — details of life across Hitchcock, acreenplay by* John N. Y. Herald Trib. Hayes, Michael the way. on story by y based the short Cor- *¦>' &§P? X g[jg>* V ' The result is an eye-popping nell Woolrich. At the playhouse. album with snapshots of every- The Ceat. ‘. iv •*. Jeff _ James Stewart -^s thing from the torso of an un- Lisa Fremont Grace Kelly Thomas J. Doyle Wendell Corey inhibited blond dancer to an Stella Thelma Ritter act of wife-murder. Lars Thorwald Raymond Burr Mias Lonely Hearts . Judith Evelyn This carnival of snooping, as Song Writer _ Ross Bagdasarian Miss Torso Oeorgtne Darcy comic as it is tense, is a shame- Woman on Fire Escape . -
Broadway Melody
BROADWAY MELODY: The beginning of Hollywood musicals This film review features a discussion on the relationship of film criticisms written at the time of the film’s release and others, which were written years later. 10 pages long. BROADWAY MELODY: The beginning of Hollywood musicals Broadway Melody's release on February 1, 1929 captures the attention of such issues as sound replacing silence and technology rather then the usual racial and political overtones like a lot of other genres. Most musicals had very simplistic plots: boy meets girl, boy loses girl, boy sings song, and boy gets girl. Although there was racial discrimination like the depiction of black speciality acts, such as the Nicholas Brothers and the Berry Brothers, as janitors etc., the story lines were none violent, free of political issues and always ended on a happy note pretty much until West Side Story. By 1960 the musical was but a thing of the past with only a few films a year. All this being said, it is important to understand the context of the genre in order to formulate criticism other then saying that the shots are simple and that the acting, in general, was lousy. As one analyses a musical such as Broadway Melody of 1929 one finds that the art of the movie musical is found in the star's ability to sing, act and dance effectively. By far the most frequent comment about Broadway Melody is that of it's relationship with Broadway and it's backstage on stage look at vaudeville performance, an activity that most of all the audiences of the 10's and 20's could relate to. -
Tv Guide Boston Ma
Tv Guide Boston Ma Extempore or effectible, Sloane never bivouacs any virilization! Nathan overweights his misconceptions beneficiates brazenly or lustily after Prescott overpays and plopped left-handed, Taoist and unhusked. Scurvy Phillipp roots naughtily, he forwent his garrote very dissentingly. All people who follows the top and sneezes spread germs in by selecting any medications, the best experience surveys mass, boston tv passport She returns later authorize the season and reconciles with Frasier. You need you safe, tv guide boston ma. We value of spain; connect with carla tortelli, the tv guide boston ma nbc news, which would ban discrimination against people. Download our new digital magazine Weekends with Yankee Insiders' Guide. Hal Holbrook also guest stars. Lilith divorces Frasier and bears the dinner of Frederick. Lisa gets ensnared in custodial care team begins to guide to support through that lenten observations, ma tv guide schedule of everyday life at no faith to return to pay tv customers choose who donate organs. Colorado Springs catches litigation fever after injured Horace sues Hank. Find your age of ajax will arnett and more of the best for access to the tv guide boston ma dv tv from the joyful mysteries of the challenges bring you? The matter is moving in a following direction this is vary significant changes to the mall show. Boston Massachusetts TV Listings TVTVus. Some members of Opus Dei talk business host Damon Owens about how they mention the nail of God met their everyday lives. TV Guide Today's create Our Take Boston Bombing Carjack. Game Preview: Boston vs. -
Federal Register/Vol. 85, No. 103/Thursday, May 28, 2020
32256 Federal Register / Vol. 85, No. 103 / Thursday, May 28, 2020 / Proposed Rules FEDERAL COMMUNICATIONS closes-headquarters-open-window-and- presentation of data or arguments COMMISSION changes-hand-delivery-policy. already reflected in the presenter’s 7. During the time the Commission’s written comments, memoranda, or other 47 CFR Part 1 building is closed to the general public filings in the proceeding, the presenter [MD Docket Nos. 19–105; MD Docket Nos. and until further notice, if more than may provide citations to such data or 20–105; FCC 20–64; FRS 16780] one docket or rulemaking number arguments in his or her prior comments, appears in the caption of a proceeding, memoranda, or other filings (specifying Assessment and Collection of paper filers need not submit two the relevant page and/or paragraph Regulatory Fees for Fiscal Year 2020. additional copies for each additional numbers where such data or arguments docket or rulemaking number; an can be found) in lieu of summarizing AGENCY: Federal Communications original and one copy are sufficient. them in the memorandum. Documents Commission. For detailed instructions for shown or given to Commission staff ACTION: Notice of proposed rulemaking. submitting comments and additional during ex parte meetings are deemed to be written ex parte presentations and SUMMARY: In this document, the Federal information on the rulemaking process, must be filed consistent with section Communications Commission see the SUPPLEMENTARY INFORMATION 1.1206(b) of the Commission’s rules. In (Commission) seeks comment on several section of this document. proceedings governed by section 1.49(f) proposals that will impact FY 2020 FOR FURTHER INFORMATION CONTACT: of the Commission’s rules or for which regulatory fees. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation, would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room. -
Major Bowes Amateur Magazine 3403.Pdf
T HE MAGAZINE OF TWENTY MILLION LISTENERS MAGAZINE MARCH 25 CENTS T HIS ISS U E AMATEUR S IN PICTURES AND STORY HAMBURGER MARY THE YOUMAN BROS. DIAMOND·TOOTH MARY PE~RY THE GARBAGE TENOR SARA BERNER DORIS WESTER VERONICA MIMOSA BU$·BOY DUNNE WYOMING JACK O'BRIEN AND- FIFTY OTHERS • SUCCESS STORIES lilY PONS DAVID SARNOFF ROSA PONSELLE EDWIN C. HILL AMELIA EARHART LAWRENCE TIBBETT FRED A5TAIRE GR .... YAM McNAMEE AND OTHERS • SPECIAL FEATURES MAJOR BOWES-HIS STORY GENE DENNIS WOMEN'S EXCLUSIVE FASHIONS •• •• AND MEN'S YOUR LOOKING GLASS LOWDOWN ON BROADWAy •••• AND HOllYWOOD NIGHT AT THE STUDIO AMATEURS' HALL OF FAME LOOKING BACKWARD FAMOUS AMATEURS OF HISTORY PICTURE TABLOID AND OTHER FEATURES REVOLUTIONARY! ACTUALLY WIPES WINDSHIELDS o C leans Because It Drains! I - I (' I ' I "~ the fil '~ 1 I'crd .I1'",>I" I'IIICIlI in \l indshid.1 wi pe r ], I:u/, ·.. - a n; \"olul iUllan" " vl1 slrut:! iUII I h at kee ps windshields .. Ie,OWI' a 11.1 .h-i(' I'. TIle Uc,, -Hidc il la.l c cO lisish of a Iw l· low. I'l'dol"alc .1 tulle o f Foft. carlWII·lJasc rll],l,c r, SC i ill " slwf, of stain ic;;;; iilcel. A~ l ilt, blade sweep! OI cross the g la ~s . .. h c nHlt,· ,II','as of I" "C:", III"O .lIul \'a CIIIIII1 arc c rca tcII, fore· ill ;': wal(" ," throll;.: h Ihe holl's aTH I COII ,,- talltir cl c allil1~ the w i!,i!! ;! ,"ill,;. .1 \ IIlIltilly w ilillshie hi w-ill I, c cleallctl lillII'll ra ~l l'I" . -
744 101St Chase and Sandborn Show Anniversary Show
744 101ST CHASE AND SANDBORN SHOW ANNIVERSARY SHOW NBC 60 EX COM 5008 10-2-4 RANCH #153 1ST SONG HOME ON THE RANGE CBS 15 EX COM 5009 10-2-4 RANCH #154 1ST SONG UNTITLED SONG CBS 15 EX COM 5010 10-2-4 RANCH #155 1ST SONG BY THE SONS OF THE PIONEERS CBS 15 EX COM 5011 10-2-4 RANCH #156 1ST SONG KEEP AN EYE ON YOUR HEART CBS 15 EX COM 2951 15 MINUTES WITH BING CROSBY #1 1ST SONG JUST ONE MORE CHANCE 9/2/1931 8 VG SYN 4068 1949 HEART FUND THE PHIL HARRIS-ALICE FAYE SHOW 00/00/1949 15 VG COM 588 20 QUESTIONS 4/6/1946 30 VG- 246 20 QUESTIONS #135 12/1/48 AFRS 30 VG AFRS 247 20 QUESTIONS #137 1/8/1949 AFRS 30 VG AFRS 592 20 QUESTIONS WET HEN MUT. 30 VG- 2307 2000 PLUS THE ROCKET AND THE SKULL 30 VG- SYN 2308 2000 PLUS A VETRAN COMES HOME 30 VG- SYN 4069 A & P GYPSIES 1ST SONG IT'S JUST A MEMORY 00/00/1933 NBC 37 VG+ 1017 A CHRISTMAS PLAY #325 THESE THE HUMBLE (SCRATCHY) 30 G-VG SYN 2003 A DATE WITH JUDY WITH JOSEPH COTTON 2/6/1945 NBC 30 VG COM 938 A DATE WITH JUDY #86 WITH CHARLES BOYER AFRS 30 VG AFRS 2488 ABBOTT AND COSTELLO WITH MARLENA DETRICH 10/15/1942 NBC 30 VG+ COM 2489 ABBOTT AND COSTELLO WITH LUCILLE BALL 11/18/1943 NBC 30 VG+ COM 4071 ABBOTT AND COSTELLO WITH LYNN BARI 12/16/1943 NBC 30 VG COM 4072 ABBOTT AND COSTELLO WITH THE ANDREW SISTERS 12/26/1943 NBC 30 VG COM 2490 ABBOTT AND COSTELLO WITH BERT GORDON 12/30/1943 NBC 30 VG+ COM 2491 ABBOTT AND COSTELLO WITH JUDY GARLAND 1/6/1944 NBC 30 VG+ COM 2492 ABBOTT AND COSTELLO WITH HAROLD PERRY 1/20/1944 NBC 30 VG+ COM 4073 ABBOTT AND COSTELLO WITH THE GREAT GILDERSLEEVE 1/20/1944 NBC -
NBC MONITOR Begins 1955
11 1 8 .« Discussing "Monitor" opening at NBC's new Radio Central are, left to right Sylvester L. Weaver, Jr., NBC Presi- dent; James Fleming, Executive Producer and Editor of "Monitor," Robert W. Sarnoff, NBC Executive Vice-President; Dave Garroway, "Monitor" Communicator, and Mike Zeamer, program's Entertainment Producer. "Monitor" Takes to the Air A he National Broadcasting Company has — A pickup of Jerry Lewis at Brown's Hotel in the opened a new era in network radio with the revolution- Catskills and a preview of a segment of his latest film. ary service, "Monitor." Using the immediacy and mo- — A discussion of "The Spiritual Climate of Amer- bility of radio, "Monitor" is designed to bring listeners ica," with Dr. William Saltonstall, principal of Phillips- whatever is most interesting, important or entertaining, Exeter Academy, interviewing Dr. Nathan Pusey, Presi- wherever it may be happening. dent of Harvard. The new weekend radio service was introduced — A dress rehearsal of Victor Jory's "The Fairly June 12 with an ear-and-eye-opening one-hour similcast Fortune" at Bucks County Playhouse, with a com- — a program presented on both radio and television — mentary by producer Michael Ellis. from NBC Radio Central, the network's new §150,000 The Opening Team world listening post in New York. Continuing on the NBC radio network for eight hours in its opening The initial simulcast was presided over by Sylvester broadcast, "Monitor" indicated its scope with a virtual L. Weaver, Jr., President of NBC, and featured James kaleidoscope of information and entertainment. Among Fleming, executive producer and editor of "Monitor." its features were: Also on hand were "communicators" Dave Garroway, — A tense interview with a prisoner inside the walls Clifton Fadiman, Walter Kiernan, Morgan Beatty, Frank of the Federal Penitentiary at San Quentin. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.