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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. -
American Jazz Museum
AMERICAN JAZZ MUSEUM ANNUAL REPORT | FISCAL YEAR 2014 OUR MISSION To celebrate and exhibit the experience of jazz as an original American art form through performance, exhibitions, education, and research at one of the country’s jazz crossroads: 18th & Vine. OUR VISION To become a premier destination that will expand the in!uence and knowledge of jazz throughout greater Kansas City and the world. OUR HISTORY Many years ago, 18th & Vine buzzed with the culture and commerce of Kansas City’s African-American community. The infectious energy of the people gave life to a new kind of music… and the music gave it right back to the people. Over the years the area languished, but the music and the musicians became legends! In 1989, the City of Kansas City, Missouri committed $26 million to a revitalization of 18th & Vine, led by the visionary and tireless efforts of then City Councilman and now Congressman Emanuel Cleaver II (former Kansas City Mayor.) By 1997, the city had a vibrant new complex housing the Kansas City Jazz Museum and the Negro Leagues Baseball Museum, as well as the Horace M. Peterson III Visitor Center, with a newly refurbished Gem Theater across the street. Soon after, the Museum and its board and staff determined that the Kansas City Jazz Museum’s name should be changed to the American Jazz Museum to re!ect that the museum is the only museum in the world that is totally devoted to America’s true classical music -- jazz. The American Jazz Museum continues to ful"ll its mission by serving as a good caretaker of its collections and artifacts, as well as managing the Blue Room jazz club, the Gem Theater, the Changing Gallery, and the public spaces of the Museums at 18th & Vine. -
Torichb COLUMBIA I Place HARPY PAPF PRODUCTION
"What did the old boy expect'.'" at »' »>ueli ]>«. udo-pUiloeophic. soapy platl-, -audio use. Its wattage is 1.200 times Schenectady. It la claimed the light Rich Load of 'LA TE Y events expresses Its mood. Nor is tl> \rnolcL as tudos. It becomes more evident as he larger than the average household lamp, from them la the nearest to sunlight yet TENDRESSE; DELICA PLA young woman, who has at least tv Daly in revealed plotting to abduct the The electric power to operate three such achieved artificially. children to help her to understand ho wealthy girl over whom he has obtained <arr\pa would run a trolley car. The showing of this lamp la but or: Native Fun in OF FRENCH OPENS EMPIRE to behave herself, a possible subject t°< Swami in a hypnotic control, and to throw the The bulb is 12 Inches in diameter and of the many featuree of the convention. LIFE, on 18 sympathy. She was having a good tim Play blame tor a Jewel robbery her young V4 Inches high. The lamp produces Under the direction of Charles I.* Edgar, The grass was not growing under h< lover, who was an electrical engineer light equal to that from 2,400 electric! president of the Boston Edison Com - 'Spite Corner' feet whtlo tlio dramatist was away ut iOn ihe Stairs' and skeptical of anything ho couldn't lamps of the else commonly used In the pany, the General Electric Company ha i Henry Miller and Miss Cliat- veiling monuments of hjs colleague test with a monkey wrench. -
Melodrama As Vernacular Modernism in China: the Case of D
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Melodrama as Vernacular Modernism in China: The Case of D. W. Griffith Qijun Han, Utrecht University In an article on the pitfalls of cross-cultural analysis, film scholar Emilie Yueh-yu Yeh has proposed replacing the term “melodrama” with “wenyi,” as it can “locate an intrinsic and perhaps more illuminating concept than melodrama to explain Chinese-language cinemas” (Yeh, 2009: 438). In Yeh’s view: Wenyi and melodrama are literally discordant: letters and arts (wenyi) vs. musical theatre (melo-drama). One emphasizes literary value and artistic taste; popular fiction that aspires to serious literature. The other offers the theatrical display and emotional excitement of the sort found in stage musicals (cf. Broadway, operetta, vaudeville). (Yeh, 2009: 445) Yeh is not the first to highlight the concept of wenyi. As early as 1985, Cai Guorong had already raised this issue. For him: Chinese wenyi melodrama developed along two lines: those works that deal with family relationships and ethics, and those that depict romances. […] First, films of this genre use contemporary or recent society as a backdrop; second, they deal with human emotions and are therefore lyrical to an extent. (Cai, 1985; in Zhang, 2012: 25) Yeh has convincingly shown how wenyi connects with and departs from melodrama, and in particular, her historical account of wenyi is a highly valuable tool in interpreting contemporary Chinese films. By proposing to substitute wenyi for melodrama, Yeh has pointed to a set of conceptual tensions underpinning the term melodrama, which is in turn relevant to several issues, such as translation and cultural identity in the aftermath of colonialism and imperialism. -
Luqman Hamza Luqman Hamza Died in Late April
JUNE + JULY 2018 Mutual Musicians Foundation: History Looking Forward... and Broadcasting Brandon Draper: Never a Single Drum Set Jam’s Wonder Woman Retires TheTheB L U ROOM Mutual Musicians Foundation Saturday Jazz Ambassadors Magazine and July 28, 2018 Jackson County Historical Society 6:00-10:00 p.m. present Bennie, Basie & Bird PHOTO BY HEINRICH KLAFFS Mutual Musicians Foundation 1823 Highland Avenue, Kansas City, MO 64108 Tickets $35 Join us for food, drinks and jazz; an exploration into the sounds and styling from Bennie Moten, Count Basie and Charlie "Bird" Parker. Enjoy live performances with original and contemporary arrangements of their classics. For more information, visit www.mutualmusicianslive.com proceeds benefit PRESIDENT'S CORNER STEPHEN MATLOCK Jam Online...and We Don’t Mean a PDF Jam is about to be showcased its own website. At long last, get together with our members and anyone else who would like you’ll be able to read the magazine not just in print or in an to join us. This time we’re at Hush Speakeasy at 1000 Broadway awkward PDF, but with links to each article on its own web at 5:30 p.m. We start with a quick update meeting followed by page which will automatically adapt to the size of the screen jazz, dining and drinks. Music by Eclipse Trio starts at 6:30. on which you’re viewing it. Our articles, photos and ads – all We’d love to see you there. about Kansas City jazz – are going to be searchable all over the We’d also love to see you at 2018’s Supper Club, an eve- world. -
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. -
New Hampshire's
NEW HAMPS H IRE ’S FILM TOUR From famous movie scene locations to hip independent theatres and lively local film festivals, discover cinematic New Hampshire. nh.gov/film visitnh.gov NEW HA M PSHIRE ’S 1 MOVIES 1 FILM TOUR INDEPENDENT MOVIE THEATRES •Pittsburg LIGHTS! CAMERA! ACTION! •Colebrook Errol• •North Strafford Many filmmakers choose locations •Stark in New Hampshire as the backdrop for •Groveton their films because of its unique scenery •Milan and characteristics. From mountains to •Lancaster Berlin• Gorham• lakes, historic mills to town squares Whitefield• •Littleton and more, it’s no wonder that movies filmed 7 here include Academy Award winners, 12 critic favorites, box-office hits and 10 6 11 North Conway• cult classics. Follow along our Film Tour •North Woodstock or make your own trip itinerary! Conway• 5 Plymouth• 9 13 8 •Hanover MOVIES •Lebanon •Canaan Meredith• 8 1. Jumanji 14 Bristol• •Wolfeboro 2. The Sensation of Sight •Laconia 3. The Thomas Crown Affair •New London •Franklin 4. The Cider House Rules 15 Andover• Sunapee• •Claremont 5. In Dreams •Newport 6. The Good Son Rochester• 7. The Good Son •Charlestown 4 Somersworth• 8. The King of Kong: A Fistful of Quarters Hopkinton• *Concord Dover• 9. On Golden Pond •Suncook Hillsborough• 7 5 10. Disappearances •Walpole 3 Hookset• •Candia 6 Po rtsmouth • 11. Return of the Secaucus 7 •Goffstown Epping• 1 1 Exeter• 4 12. Return of the Secaucus 7 •Manchester •Keene •Greenfield Hampton• 2 13. The Skulls •Marlborough •Peterborough •Chesterfield Merrimack• •Derry 14. Way Down East •Hinsdale •Jaffrey 2 Milford• 3 15. Live Free or Die •Winchester Salem• Nashua• •Hudson INDEPENDENT MOVIE THEATRES 1. -
Film Program Fall 2007 National Gallery of Art, Washington Art Films and Events
Film Program Fall 2007 National Gallery of Art, Washington Art Films and Events Fall Series 16 Tues December In addition to the films listed below, two 11:00 Art Film: Edward Hopper films produced by the National Gallery of Art, film 12:00 Art Film: J. M.W. Turner 1 Sat Edward Hopper and J. M. W. Turner, are shown Scenes from a Life: 2:00 Romania: Death of Mr. Lăzărescu 17 Wed several times each week in the large audito- rium and daily in the small auditorium. Ingmar Bergman 11:00 Art Film: Edward Hopper 4 Tues 12:00 Art Film: J. M.W. Turner 11:00 Art Film: Edward Hopper Aaron Copland: 12:00 Art Film: J. M.W. Turner 18 Thurs Other People’s Pictures Music for American Movies 1:00 Art Film: Other People’s Pictures 5 Wed October 11, 12, 18, 19 at 1:00 11:00 Art Film: Edward Hopper November 21, 23 at 1:00 19 Fri 12:00 Art Film: J. M.W. Turner November 24 at 11:00 Edward Hopper and 12:00 Art Film: J. M.W. Turner 7 Fri American Movie Culture 1:00 Art Film: Other People’s Pictures The serious collecting of amateur snapshots 12:00 Art Film: J. M.W. Turner 20 Sat is a relatively new pursuit in America. On Sat Bucharest Stories: 2:00 Edward Hopper: Short Cuts, preceded by 8 location at New York’s Chelsea Flea Markets, 2:30 Romania: California Dreamin’ New Films from Romania discussion, Robert Altman, Edward Hopper, and the documentary Other People’s Pictures trails the Spaces of Unease 9 Sun nine collectors as they track down their one- of-a-kind ephemeral images. -
Theology in Silent Films, 1902 to 1927
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Skin and Redemption: Theology in Silent Films, 1902 to 1927 Susan Craig Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1794 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Skin and Redemption: Theology in Silent Films, 1902 to 1927 by Susan Craig A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 Susan Jean Craig All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Martin J. Burke Date Chair of Examining Committee Prof. Helena Rosenblatt Date Executive Officer Prof. Donald Scott Prof. Jonathan Sassi Prof. Marc Dolan THE CITY UNIVERSITY OF NEW YORK Prof. Richard Koszarski RUTGERS UNIVERSITY Supervisory Committee iv Abstract Theology in Silent Films by Susan Craig Adviser: Prof. Martin J. Burke This dissertation analyzes theological concepts in silent moving pictures made for commercial distribution from 1902 to 1927, and examines how directors and scenarists sorted through competing belief systems to select what they anticipated would be palatable theological references for their films. A fundamental assumption of this study is that, the artistic and aesthetic pretensions of many silent-era filmmakers notwithstanding, directors generally made decisions in the conception, production and marketing of films primarily to maximize profits in a ruthlessly competitive environment. -
Read Full Job Description Here
www.artskc.org PRESIDENT & CEO ORGANIZATION ArtsKC (Metropolitan Arts Council of Greater Kansas City) is a leading cultural agency for the greater Kansas City area created to support, promote, and advocate for the entire arts and culture sector. Following its move, one year ago, to a newly renovated building in the thriving Crossroads arts district, the organization has rebranded itself as ArtsKC and is poised to move forward and embrace its vision to unleash the power of the arts. Founded in 1999, the arts council was formed in conjunction with the attempt to gain regional funding from local tax sources. Though the public funding did not come to fruition, the Arts Council of Kansas City was formed by a pioneering group of individuals, led by Chair Shirley Bush Helzberg, who saw the need for advocacy and general funding for the regional cultural sector. ArtsKC currently serves five counties in the bi-state region: Clay, Jackson, and Platte counties in Missouri and Johnson and Wyandotte counties in Kansas. Arts in this region account for $250 million in economic impact, and the area boasts over 250 arts nonprofits and 350 arts related businesses. The creative economy accounts for 4.3% of all business, twice the national average. Internationally acclaimed arts venues and performance organizations include: the 285,000-square foot Kauffman Center for the Performing Arts, the Kansas City Symphony, the Kansas City Friends of Alvin Ailey, the Lyric Opera of Kansas City, the Kansas City Ballet, The Kemper Museum of Contemporary Art, The Nelson-Atkins Museum of Art, the American Jazz Museum, and the Kansas City Art Institute. -
D. W. Griffith Centennial
H the Museum of Modern Art U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart D.W. GRIFFITH CENTENNIAL Part II, The Feature Films, May 15 to July 9, 1975 Thursday, May 15 5:30 HOME, SWEET HOME. 1914. With Lillian Gish, Mae Marsh, Blanche Sweet. ca 95 min. and THE MASSACRE. 1912. With Blanche Sweet, ca 30 min. 8:00 D. W. Griffith's THE BIRTH OF A NATION: Muckraking a Southern Legend, a lecture by Russell Merritt, Associate Professor of Communication Arts, University of Wisconsin at Madison Friday, May 16 2:00 THE BIRTH-OF A NATION. 1915. With Lillian Gish, Mae Marsh, Henry B. Walthall, ca 200 min. Saturday, May 17 3:00 HOME, SWEET HOME and THE MASSACRE. (See Thursday, May 15 at 5:30) 5:30 THE AVENGING CONSCIENCE. 1914. With Henry B. Walthall, Blanche Sweet. ca 95 min. and EDGAR ALLAN POE. 1909. With Herbert Yost, Linda Arvidson. ca 15 min. Sunday, May 18 5:30 THE MOTHER AND THE LAW. 1914-1919. With Mae Marsh, Robert Harron, Miriam Cooper, ca 115 min. Monday, May 19 2:00 THE MOTHER AND THE LAW. (See Sunday, May 18 at 5:30) 5:30 THE BIRTH OF A NATION. (See Friday, May 16 at 2:00) Tuesday, May 20 5:30 THE AVENGING CONSCIENCE and EDGAR ALLAN POE. (See Saturday, May 17 at 5:30) Thursday, May 22 67315 INTOLERANCE. 1916. With Mae Marsh, Robert Harron, Miriam Cooper, ca 195 min. Friday, May 23 2:00 INTOLERANCE. (See Thursday, May 22 at 6:30) Saturday, May 24 3700 A ROMANCE OF HAPPY VALLEY. -
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.