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Film Essay for "Midnight"
Midnight By Kyle Westphal Long-standing critical con- sensus and the marketing prowess of Turner Classic Movies have declared 1939 to be “Hollywood’s Greatest Year”— a judgment made on the basis of a handful of popular classics like “Gone with the Wind,” “The Wizard of Oz,” “Stagecoach,” and “Mr. Smith Goes to Washington,” and a rather large stable of films that represent studio craftsmen at its most competent and unpretentious. There is no finer product of that collabo- Two-page advertisement from May 1939 edition of Photoplay. rative ethos than Midnight” Courtesy Media History Digital Library. — a shimmering comedy that exemplifies the weary cosmopolitan style of its stu- dio, Paramount Pictures. It received no Academy The plot, such as it is, is pure screwball. Colbert Award nominations, but it can go toe-to-toe with any stars as Bronx-bred but lately itinerant showgirl Eve ’39 warhorse. Peabody, who awakes on a train and disembarks in Paris with nothing but the gold lamé dress on her Film critic Dave Kehr has affectionately described back. She winds up in the taxi of Tibor Czerny (Don Paramount’s ’30s output as an earnest examination Ameche), who willingly drives her from nightclub to of an imagined “Uptown Depression,” positing an nightclub in search of a gig. Recognizing the futility economic calamity that “seemed to have its greatest of this plan, Colbert sneaks away from Ameche and effect not on switchboard operators and taxi drivers, uses her Monte Carlo municipal pawn ticket as en- but on Park Avenue socialites, Broadway stars and trée to a society soirée hosted by society matron well-heeled bootleggers.” Coming late in the cycle, Hedda Hopper. -
Puvunestekn 2
1/23/19 Costume designers and Illustrations 1920-1940 Howard Greer (16 April 1896 –April 1974, Los Angeles w as a H ollywood fashion designer and a costume designer in the Golden Age of Amer ic an cinema. Costume design drawing for Marcella Daly by Howard Greer Mitc hell Leis en (October 6, 1898 – October 28, 1972) was an American director, art director, and costume designer. Travis Banton (August 18, 1894 – February 2, 1958) was the chief designer at Paramount Pictures. He is considered one of the most important Hollywood costume designers of the 1930s. Travis Banton may be best r emembered for He held a crucial role in the evolution of the Marlene Dietrich image, designing her costumes in a true for ging the s tyle of s uc h H ollyw ood icons creative collaboration with the actress. as Carole Lombard, Marlene Dietrich, and Mae Wes t. Costume design drawing for The Thief of Bagdad by Mitchell Leisen 1 1/23/19 Travis Banton, Travis Banton, Claudette Colbert, Cleopatra, 1934. Walter Plunkett (June 5, 1902 in Oakland, California – March 8, 1982) was a prolific costume designer who worked on more than 150 projects throughout his career in the Hollywood film industry. Plunk ett's bes t-known work is featured in two films, Gone with the Wind and Singin' in the R ain, in which he lampooned his initial style of the Roaring Twenties. In 1951, Plunk ett s hared an Osc ar with Orr y-Kelly and Ir ene for An Amer ic an in Paris . Adr ian Adolph Greenberg ( 1903 —19 59 ), w i de l y known Edith H ead ( October 28, 1897 – October 24, as Adrian, was an American costume designer whose 1981) was an American costume designer mos t famous costumes were for The Wiz ard of Oz and who won eight Academy Awards, starting with other Metro-Goldwyn-Mayer films of the 1930s and The Heiress (1949) and ending with The Sting 1940s. -
It's a Mad, Bad, Glad, Ipad World
It’s a Mad, Bad, Glad, iPad World Friar Bob Hutmacher, ofm I’m writing on the first day of meteorological summer and my second idea for this Legionnaire article are memory flashes of Johnathan Winters, Milton Berle, Ethel Merman, Mickey Rooney, Buddy Hackett, Sid Caesar, Spencer Tracy, Dick Shawn, Phil Silvers, Edie Adams, Terry Thomas, Carl Reiner, Jimmy Durante and many more in the 1963 film, It’s a Mad, Mad, Mad, Mad World. The first thoughts I had were of last night’s tornado in the western suburbs, U.S. bishops treading in dangerous waters, more mass shootings than even a twisted mind could imagine, a new Covid variant rampant throughout the world and a steamer trunk full of bad news. However ~ I believe we need a break from all the anxiety of the plague behaviors (as I call them), interior damage, negative vibes and scary thoughts of a divided country and divided Church ~ and smile with delight at some of our Catholic behavior. A number of years ago Travelers Aid operated out of our lower level to assist the lost and forsaken of our city. There was a period when this social service kindly offered free sandwiches and coffee on Friday afternoon to anyone and everyone in need. And anyone and everyone flocked to the basement of St. Peter’s! Word on the street spreads quickly and when it was Sandwich Friday here, there was always a line down into the basement. I happened to be in confessional #12 that day, the most frequented one we have in church. -
Leisen, Mitchell (1898-1972) by Craig Kaczorowski
Leisen, Mitchell (1898-1972) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com Mitchell Leisen was a noted director during Hollywood's Golden Age. He is credited with more than 40 feature films, which are celebrated for their stylishness and visual elegance. He excelled at witty, romantic comedies that are often tinged with a touch of melancholy, such as the classic "screwball" comedy Easy Living (1937) and the clever, cosmopolitan farce Midnight (1939). Leisen has also been hailed for his "gender role-reversal" films, where the male lead is cast as the sex object and the female lead as the aggressor. Not surprising for a bisexual director working in Hollywood, Leisen's other thematic obsessions included mistaken identity, role-playing, and deception. Leisen returned to the same performers film after film, developing strong working partnerships. Although he was instrumental in shaping the careers of such actors as Fred MacMurray and Ray Milland, Leisen became typed as a "woman's director" for the fastidious, detailed attention he paid to the costuming and art direction of his productions, as well as for the nuanced, spontaneous performances he coaxed from such actresses as Carole Lombard, Claudette Colbert, and Olivia de Havilland. Among many film historians, Leisen's artistic reputation has been tarnished somewhat by the stormy relationships he became embroiled in with some of his screenwriters, most notably Preston Sturges and Billy Wilder. After working on several films with Leisen, both writers demanded to be allowed to direct their own scripts, in part because they objected to the sophisticated veneer of Leisen's directorial style and to the changes he frequently made to their screenplays. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Schweizer Film = Film Suisse : Offizielles Organ Des Schweiz
Objekttyp: Advertising Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): - (1934-1935) Heft 8 PDF erstellt am: 30.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 4 SCHWEIZER FILM SUISSE La présence seule de l'inoubliable créatrice de Je ne suis pas un Ange a fait courir tout Paris, Le nouueau programme Paramount de la Saison 1934-35 Lady Lou et de Je ne suis pas un Ange constitue d'abord à l'Elysée-Gaumont, pendant six pour cette comédie d'action le plus précieux des semaines de suite, puis au Caméo, au cours de deux atouts. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
Martin Luther and the 1950S Religious Marketplace
Access provided by University of Pittsburgh (18 Jul 2013 17:22 GMT) “A Remarkable Adventure”: Martin Luther and the 1950s Religious Marketplace by DAN CHYUTIN Abstract: Theatrically released in 1953, the church-funded biopic Martin Luther (Irving Pichel) was designed to exceed the narrow confi nes of the Christian fi lm market and successfully compete with Hollywood products. This article positions the fi lm’s unique accomplishments in relation to postwar America’s spiritual turn and reveals how the case of Martin Luther may illuminate our general understanding of the uneasy relation- ship between organized religion and mass media. Figure 1. Niall MacGinnis plays the eponymous protagonist in Irving Pichel’s Martin Luther (Lutheran Church Productions, 1953). Image courtesy of the Archives of the Evangelical Lutheran Church in America. Dan Chyutin is a PhD candidate in Film Studies at the University of Pittsburgh. His doctoral work focuses on fi lm and religion, and specifi cally on contemporary Israeli cinema’s articulations of Judaism. A section from his dissertation was © 2013 by the University of Texas Press © 2013 by the University of Texas published in the anthology Israeli Cinema: Identities in Motion (University of Texas Press, 2011). www.cmstudies.org 52 | No. 3 | Spring 2013 25 Cinema Journal 52 | No. 3 | Spring 2013 n 1950, Mary Ann Van Hoof, a forty-one-year-old farmer residing in the small Wis- consin town of Necedah, gained national recognition after allegedly encountering the Virgin Mary. First as a shadowy figure, then as a heavenly voice, and finally as a “beautiful lady” enveloped by blue mist, the Blessed Virgin made several visits to Mrs. -
The Jimmy Durante Show
CD 4 A: Vacations - March 24, 1948 THE JIMMY DURANTE SHOW B: Guest: Rose Marie – March 31, 1948 Program Guide by Elizabeth McLeod CD 5 A: Guest: Dorothy Lamour – April 7,1948 One of the great advantages of being a radio star in the medium’s Golden Era was B: Guest: President Harry Truman – April 14, the relative anonymity it afforded. A performer might entertain tens of millions 1948 of listeners every week, and yet walk the streets in broad daylight without being annoyed by fans. In radio it was the voices, not the faces, that mattered. But there CD 6 were exceptions. A: Guest: Lou Clayton and Eddie Jackson – April 21, 1948 Some radio favorites had a background in stage or film, and their faces were part B: Guest: Lucille Ball – April 28, 1948 and parcel of their appeal. Eddie Cantor, Bob Hope, and even Fred Allen had Lucille Ball physical attributes that matched their voices…and made them easy to pick out in CD 7 any crowd. And there was no performer who could boast a more perfect match A: Transportation Problems – May 5, 1948 of face and voice -- or was more instantly recognizable -- than the beloved Old B: A President’s Wife – May 12, 1948 Schnozzola, Jimmy Durante. CD 8 In a career that extended from the first decade of the 20th Century to the 1970s, A: The Small Businessman – May 19, 1948 Jimmy Durante had two trademarks that transcended every medium in which B: Choice Of Champions – May 26, 1948 he worked. Whether you knew him from his nightclub act, motion pictures, phonograph records, radio programs, or television, you needed no master of ceremonies to tell you who Elizabeth McLeod is a journalist, author, and broadcast historian. -
Jimmy Durante Papers PASC-M.0195
http://oac.cdlib.org/findaid/ark:/13030/c8cv4m1z No online items Finding Aid for the Jimmy Durante Papers PASC-M.0195 Finding aid prepared by Alexandra Apolloni; machine-readable finding aid created by Julie Graham and Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2021 January 19. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Jimmy Durante PASC-M.0195 1 Papers PASC-M.0195 Contributing Institution: UCLA Library Special Collections Title: Jimmy Durante papers Creator: Durante, Jimmy Identifier/Call Number: PASC-M.0195 Physical Description: 150 Linear Feet(342 boxes) Date (inclusive): circa 1920s-circa 1990 Abstract: Jimmy Durante had a decades-long career as a musician, songwriter, comedian, and actor. The collection consists of script material, scrapbooks, photographs, written music, audio recordings, printed material and ephemera, and a small amount of correspondence documenting Durante's extensive career as an entertainer on stage, radio, film, and television. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels.