DOCSLIB.ORG

THE FLAT HAT No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE FLAT HAT No THE FLAT HAT No. 25 Vol. XI COLLEGE OF WILLIAM AND MARY IN WILLIAMSBURG IN VIRGINIA, APRIL 28, 1922. INDIANS DEFEAT THE SPIDERS TWICE VICTORIOUS OVER LAFAYETTE AND RANDOLPH-MACON Lafayette Defeated Mr. Harrison Delivers State Convention of INDIANS TRIM SPIDERS by William and Mary Fourteenth Lecture Students' Y. M. C. A.s Held at V. P. I. Thompson Hurls Great Ball And Her First Defeat Since Begin¬ College men and women of today can preserve for themselves the price¬ First Game of Series Goes ning of Last Season Schools and Colleges Through¬ to W. & M. less heritage of personal liberty by out Entire State Well "Flickie" Harwood pitched winning clinging to the great charter of free¬ A dom and the Federal Constitution as Represented "Curt" Thompson proved to be ball against Lafayette last Friday, master of the Spiders in the opening and the Indians were the victors by they were prepared and handed down Practically every college, and a game of the two-game series with a 5 to 4 count in the ninth inning, by the great Fathers of the Republic, number of preparatory schools, were the Westhampton Institution, and held when Hicks tripled, and scored on Randolph Harrison, a prominent represented at the State Convention them to two runs while the Indians Lowe's drive to left field. Harwood Lynchburg attorney and former of the Students' Y. M. C. A.'s, which gathered four. The two runs of the would have held the Lafayette score President of the Virginia State Bar was held at the Virginia Polytechnic Dobsonites came as a result of a wild much lower if he had exhibited more Association, declared here today in de¬ Institute April 7, 8, 9. William and throw by Thompson to second base. control. He walked eight men during livering the fourteenth of a series of constitutional lectures given at the Mary was represented by E. B. The Indians got only seven hits off the game. Johnson, but these came in the pinch¬ It was Lafayette's first defeat §ince College of William and Mary under Moffitt. Vital problems facing the colleges es, with men on bases. Cobb drove in the first part of last season, and the the auspices of the Marshall-Wythe of Virginia were thoroughly dis¬ two runs. first loss sustained by Longaker, the School of Government and Citizen¬ cussed and analysed, while inspira¬ Clarke bunted into a triple play in Eastonian pitcher, in over two years. ship. The subject of Mr. Harrison's lecture was "The Compromises in the tional addresses were delivered to the sixth inning which probably cost Lafayette got five hits off Harwood, the Indians some runs. The first and while the Indians amassed a total of Constitution." add to the interest and value of the The speaker stated that people must conference. Dr. C. M. Newman ,of second bases were occupied when he eleven. (Continued on Page 8) (Continued on Page 8) understand the principles enunciated the V. P. I. faculty, delivered the wel- (Continued on page 7) (Continued on Page 2) T • v S^ Virginia Victorious Indians Down Judge Putnam Delivers Dr. Branson Addresses Spiders In the Over W. & M. 13th Lecture of the Student body On An Economic Issue Second Game Squeeze Play Gives Orange and Marshall-Wythe Series Blue Nine 6. to 5 The Federal Constitution, in its A plea to college men annd women Harwood Was Feature of the Victory divided spheres of authority, kept to train themselves by a study of Game, Driving Ball Over separate by the courts, has so far pre¬ social and economic questions in order Wall For Home Run Charlottesville, Va., April 24. served the needed balance of govern¬ that they might aid in the betterment After knocking Thompson out of the mental powers; and in this time of of their State and the South, was "Hobbie" S n e a d, the Spiders' box in the seventh, Virginia resorted world-wide unrest people may turn made here today by Dr. E. C. Bran¬ pitching ace, proved easy for the Indi¬ to bunting in the eighth and shoved with great venerations to the Fathers, son Kenan, Professor of Rural-Social ans in the second game of the series, two runs across, defeating William who builded the framework of the Economics at the University of North played in Norfolk Easter Monday, and Mary, 6 to 5. United States government better than Carolina, in an address on "The Prob¬ and lost by the count of 7 to 5. The^ Miscues by the Orange and Blue they knew, declared Judge Harring¬ lems of the South and How to Meet feature of the game was a drive over infield, coupled with triples by J. ton Putnam, of Brooklyn, N. Y., a Them." A large number of students the left field wall by Harwood. Chandler and Cobb, gave the Indians (Continued on Page 2) (Continued on Page 7) Stephens started on the mound for two runs in both the first and third William and Mary, and pitched good innings. Their final tally came in ball the first two innings. In the the sixth, when White made an infield third inning, however, he lost control, hit, stole second and third and count¬ and the Spiders choked the bases by ed on Thompson's single. securing two bases on balls and a McCoy's Triple in the seventh scored single. Harwood replaced Stephens Carrington, and the former registered (Continued on Page 8) and allowed only one run, after strik¬ ing out Snead. (Continued on Page 7) W. & M. Track Team Beats Va. Boat Club W. & M. Defeats William and Mary defeated the Vir¬ ginia Boat Club of Richmond in a Randolph-Macon dual track meet Saturday afternoon by the score of 79 to 47. A number of Harwood Gets Circuit Drive, the events were close and intensely Making His Second One interesting. Wood, of the Boat club, the indi¬ For the Season vidual star of the meet, won first in William and Mary came from be¬ the high and broad jumps, and low hind in the final inning Thursday and hurdles, and second in the high defeated Randolph-Macon by the hurdles. Wharton, of the Boat Club, score of 6-5. The Yellow Jackets were made good time in winning the half A Scene From Act 2 of Tarkington's "Clarence" leading at the beginning of the eighth, mile, but was defeated by Chandler, In the Reception Room of Mrs. Wheeler's Residence: and Peery, on the mound for the of W. & M., in the mile. Mr. Wheeler: "What in the—?" visitors, was proving an enigma to The summary follows: Cora: "Oh, isn't he wonderful?" th& Indians. Harwood went in as a 100 yard dash: Metcalf, W. & M., Those appearing in the scene, from left to right—Lily Lawless as Delia; pinch hitter for White and, getting Hancock, V. B. C, Moore, W. & M., Lucille Jackson as Miss Pinney; J. G. Pollard, Jr., as Dinwiddle; Alice Clay his second home run of the season, 10-3-5. as Cora Wheeler; J. C. Phillips as Clarence; Charles Pollard as "Bobbie" (Continued on Page 3) Wheeler; W. E. Bull as Mr. Wheeler; Josephine Benschoten as Mrs. Wheeler. (Continued on Page 7) THE FLAT HAT "Le Bourgeois Gentil- "Clarence" To Be Senior Class Drive the office of Director of Education for homme" Attracts Given Next Week penitentiary. This officer will be appointed in the near future and will Large Audience The forty-eight members of the Mr. Gwathmey, Director of the senior class have undertaken the task work in co-operation with the College of raising at least fifteen hundred of William and Mary. Mr. Lytic, Director, Due Much Dramatic Club, announces that the Tarkington production, "Clarence," is dollars towards the construction of Praise For Splendid now ready for presentation. The cast the men's new dormitory. Each mem¬ STATE CONVENTION Production is waiting only for completion of re¬ ber will attempt to raise in some Y. M. C. A. AT V. P. I. pairs which are being made at Cam¬ manner at least twenty-five dollars. The Newport News High School eron Hall. It is hoped that the new This will make a total of twelve hun¬ (Continued from Page 1) dramatic troupe, under the direction scenery, curtain, seats, and interior dred dollars, or one-hundredth of the of Mr. Lytle, gave as its annual pro¬ decorations will be ready so that the amount which the college must raise come address. Dr. Gossard, Southern duction Moliere's Le Bourgeois Gentil- hall may be used by the latter part to secure the State appropriation for Students' Y. M. C. A. .Secretary, gave homme at the Williamsburg High of next week. The exact date upon the dormitory. a number of talks of high value. Dr. School Auditorium Saturday night. which the play will be given and the Dr. Chandler says he must have no J. T. Hodges, a fluent negro speak¬ The play was a decided success and a price of admission will be published less than sixty thousand dollars by er, presented in an impressive man¬ credit to Mr. Lytle's training. through hand bills and posters with¬ June. The class feels that by helping ner the problems before the races of The prologue, written by Dr. Mont¬ in a few days. to secure this money it will be of America today. Mr. R. W. Miles of the State Committee, discussed the gomery, which was well delivered, "Clarence," a farce-comedy in four best service to the college and will negro question from a slightly differ¬ was an appropriate and effective in¬ acts, is being produced in Virginia show most truly its love for William and Mary.
Load more

Recommended publications
  • RUDOLPH VALENTINO January 1971
    -,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-.
    [Show full text]
  • Film Advertising Cards and Programs Collection Inventory
    Film Advertising Cards and Programs Collection Inventory 1 box; 6 envelopes; 252 items; .125 metres Env. #1: Advertising Cards – 62 items 1. Roscoe Arbuckle (Fatty) / Temple Theatre, week of April 28, 1919 2. John Barrymore / Dundas Playhouse, week of July 21, 1919 3. Enid Bennet / Dundas Playhouse, week of May 12, 1919 4. Gladys Brockwell / Adanac Theatre, week of March 3, 1919 5. Billy Burke / Amusu Theatre, week of April 7, 1919 6. June Caprice / Adanac Theatre, April 14, 1919 7. Harry Carey / Duchess Theatre, week of May 12, 1919 8. Mrs. Vernon Castle (Irene) / Adanac Theatre, week of May 26, 1919 9. Barbara Castleton / Duchess Theatre, week of April 7, 1919 10. Lina Cavalieri / Playhouse Theatre, week of April 21, 1919 11. Charlie Chaplin / Dundas Playhouse, week of April 28, 1919 12. Ethel Clayton / Brighton & Parkview Theatres, wk of April 28, 1919 13. Dorothy Dalton / Dundas Playhouse, week of April 7, 1919 Dorothy Dalton / Queen’s Royal Theatre, week of March 4, 1918 14. Priscilla Dean / Brighton & Parkview Theatres, wk of April 28, 1919 15. June Elvidge / Duchess Theatre, week of March 24, 1919 16. Madge Evans / Dundas Playhouse, week of September 15, 1919 17. Douglas Fairbanks / Brighton Theatre, week of March 10, 1919 18. Dustin Farnum / Temple Theatre, week of April 21, 1919 19. William Farnum / Brighton & Parkview Theatres, week of April 7, 1919 Film Advertising Cards and Programs Collection Inventory Page 2 of 18 20. Geraldine Farrar / Brighton & Parkview Theatres, wk of May 26, 1919 Geraldine Farrar / Queen’s Royal Theatre, week of March 18, 1919 21.
    [Show full text]
  • MOORE's GARDEN August 31 to Sept. 6- "The Miracle Man" MOORE's STRAND Augustb^Lu|Mfrkl In"Themisleadingwidow" Aug
    I Washington joins in the national drive for bettermotion pictures This week begins the greatest motion for Better Motion Pictures picture season in the history of the screen whole week will be devoted to a drive After seven years ofgatheringway,Paramount- SEPTEMBER 1919 THEfor better pictures in thousands of the better Artcraft has mobilized all,the great geniuses of theatres, big and small, all over America. production; dramatists, directors, artists, tech* What a nation does with its spare time is a nicians; and is equipped with facilities of the mighty good test of the heart of that nation. utmost magnitude to capture from the realm And the verdict of America's whole heart of soaring imagination photoplays that make and think) mind on Paramount-Artcraft leaves no shadow you laugh.and cry.and of doubt as to what sort of screen entertainment As in the America prefers. past the proof is written large in increased showings at more theatres, more fre¬ Based on a record of actual performance quent attendance by more people, and the m«Viny NATIONAL Famous Players-Lasky Corporation now promises of that better theatre in every community the some new and surprising screen achieve¬ magnet that draws the people as surely u the Paramount- ments, beginning this week. moon draws the tides. (Jrtcmft W'E E K Theatres showing this Cal¬ endar - Section in their FAMOUS PLAYERS-LASKY CORPORATION m newspaper advertisements and house programs are en- operating in this drive for better motion pictures. t all these theatres, all this week.Paramount -Artcrafl Pictures will be shown OFW\T PAT A PF August 31 to Sept.
    [Show full text]
  • 04 Cumberland 43-59
    Links & Letters 6, 1999 43-59 North American desire for the Spanish Other: Three film versions of Blasco Ibáñez's Blood and Sand Sharon Cumberland Seattle University, USA September 1998 Abstract: There are three film versions of Vicente Blasco Ibáñez's taurine novel Sangre y arena (1908). All are entitled Blood and Sand and feature male and female actors who epitomise the erotic possibilities of the North American fascination with Spanish stereotypes: Rudolph Valentino in 1922, Tyrone Power and Rita Hayworth in 1941, and Sharon Stone in 1989. By comparing the three film versions of Blood and Sand to Sangre y arena, it becomes clear that the North American appropriation of Spanish stereotypes displaces Blasco Ibáñez's theme of class conflict onto a safely diffused locus of erotic desire. Included are discussions of stereotypes in North American literary and film culture, Hollywood and North American audiences, and the españolada tradition compared to other North American genres. Key words: Blasco Ibáñez; Blood and Sand; Sangre y arena; Bullfighting; Culture Criti- cism; Españolada; Spanish Stereotypes. Although styles in popular culture come and go, North American audiences have never lost their desire for artistic representations of the exotic Spanish Other. «Desire» in this sense, is composed of both an erotic longing pro- jected into a safe, fantasy world, and a need for an exotic stereotype against which to read one's own identity. The romantic hero with flashing eyes and a taste for danger, whether manifested as a Conquistador, gypsy, or «Latin Lover», always seems to return to the popular imagination. For instance, as these lines are being written (summer, 1998) one of the top films showing in North America is The Mask of Zorro, starring Antonio Banderas, a Spanish actor who has developed a cross-over career in Hollywood by capitalising on the latent desire of North American audiences for a new embodiment of this familiar stereotype.
    [Show full text]
  • June Mathis's Valentino Scripts: Images of Male "Becoming" After the Great War
    June Mathis's Valentino Scripts: Images of Male "Becoming" After the Great War Thomas J. Slater Cinema Journal, 50, Number 1, Fall 2010, pp. 99-120 (Article) Published by University of Texas Press For additional information about this article http://muse.jhu.edu/journals/cj/summary/v050/50.1.slater.html Access Provided by University of California @ Santa Cruz at 03/30/11 4:04PM GMT June Mathis’s Valentino Scripts: Images of Male “Becoming” After the Great War by THOMAS J. SLATER Abstract: In the screenplays she wrote for Rudolph Valentino in 1921–1922, June Mathis redefi ned masculinity according to a socially useful, sexually open, anti- materialist, non- violent model, an achievement that deserves recognition because it expands our under- standing of how American culture, and especially women, responded to the Great War. aylyn Studlar defi nes the immediate post–World War I years as “an era marked by fears of national and masculine enfeeblement” in which “there was a veritable obsession with the attainment of masculinity.”1 Many writers G at the time suggested these fears were based on “a causal connection be- tween the standard of masculinity enforced by American capitalism and the sexual, erotic, emotional defi ciencies of American men.”2 Men therefore felt threatened when women turned “matinee idols” into cult hero objects of sexual desire, and none seemed more threatening than Rudolph Valentino. For his success, he was of- ten vilifi ed by male journalists because, as Miriam Hansen states, “Valentino called into question the very idea of a stable sexual identity.”3 During the early 1920s, writes Studlar, “Valentino had been culturally poised between a traditional order of masculinity and a utopian feminine ideal, between an enticing sensual excess ascribed to the Old World and the functional ideal of the New.”4 This transitional status was established not through mise- en- scène alone, 1 Gaylyn Studlar, This Mad Masquerade: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1996), 12, 13.
    [Show full text]
  • THE FLAT HAT Vol
    THE FLAT HAT Vol. XI COLLEGE OF WILLIAM AND MARY IN WILLIAMSBURG IN VIRGINIA, MARCH 31, 1922 No. 22 Women Have Many Track Schedule DEBATE TUESDAY BASEBALL HERE Sports This Year Heaviest In Years Dickinson and Duke Compose Indians Open Season Tomorrow, Team Which Debates Colby Playing Strong Fort Mon¬ Have Choice of Indulging in Ten¬ Two Dual Meets Scheduled With roe Team nis, Baseball, Hockey, Hik¬ V. M. I. and University College Next Week ing or Archery of Richmond The first of the intercollegiate de¬ Weather permitting, the Indians Tennis, baseball, swimming, hockey, Athletic Director James G. Driver bates arranged by the Debate Coun¬ will open the 1922 baseball season hiking, and archery will be included in has announced the track schedule for cil will be held with Colby College in tomorrow when they cross bats with women's athletics at the college this this year. A glance at the card chapel at 8 p. m. Tuesday, April 4. the representative Fort Monroe nine. spring, according to an announcement shows that this year's track squad The Colby Debating Team is com¬ The Artillerymen are said to have a made by the athletic authorities. has the heaviest and most compre¬ posed of George Bernard Wolsten- strong team this year, and have been hensive schedule ever attempted by home, Clyde Elwin Russell, Leonard getting in some good practice. Practice for the tennis tournament to be held the latter part of April an Indian track team. Withington Mayo, and Forrest Merle During the week Coach Driver has will begin as soon as the courts are in The candidates are at present work¬ Royal.
    [Show full text]
  • Cooperative Cinema Venture Launched by Brooklyn Academy and Museum
    /d> The Museum of Modern Art fok RLASE SEPTEMBER 28.1970 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart COOPERATIVE CINEMA VENTURE LAUNCHED BY BROOKLYN ACADEMY AND MUSEUM Cinema classics from the archives of The Museum of Modem Art will be shown weekly, starting October 7, at the Brooklyn Academy, Harvey Llchtensteln, Director of the Academy and John Hlghtower, Director of the Museum, announced today. The 112-year-old performing arts center at 30 Lafayette Avenue also plans to present The Museum of Modern Art's latest "What's Happening?" programs of documentaries using technical Innovations to cover social and news events In a significant manner. The "What's Happening?" series starts October 9, at 7:30 p.m. and will continue almost every Friday evening through the spring season. It will be open to the public. The classics program, available only to members of both institutions on con­ secutive Wednesdays at 2:30 p.m. and 7:30 p.m., will also run through May. The series opens with films of 1919 vintage. The early films of renown include Harold Lloyd's comedy "High and Dizzy;" "The Mark of Zorro," in which Douglas Fairbanks "soared" to stardom in swashbuckling roles; "Blood and Sand," starring the myth- hero of his time, Rudolph Valentino; and "Stella Dallas," with Ronald Colman, the most popular sentimental melodrama of the "silent" twenties. On the program are three D.W, Griffith films: "Broken Blossoms" and "Way Down East," both starring Lillian Glsh and Richard Barthelmess, and Griffith's epic work "Intolerance." The latter combines four stories and four historic periods—early Babylon, the Christian era, 16th century France, and the 20th century—and was intended as a modern-day parable.
    [Show full text]
  • Hodkinson, Hays and Hollywood [1921-1922]
    HODKINSON, HAYS AND HOLLYWOOD [1921-1922] Compiled by: Charles Stepczyk, Paramount Archives Before the Fatty Arbuckle scandal broke and spilled down into Hollywood in Sept of 1921, William Desmond Taylor, President of the Motion Picture Directors' Association, introduced William Wadsworth Hodkinson at a meeting of the organization earlier in the year in February. Hodkinson, one of the founders of Paramount, ran the W. W. Hodkinson Corp, which over its run distributed more than 130 independently-made films between the years 1918 and 1924, [some of which were also distributed by Pathe, including at least a few in 1922]. Amongst the exhibitor topics of the day, Hodkinson spoke a bit about the "rising wave" relative to "sex movies, reformers, blue laws, and censorship". Hodkinson preached to some degree a form of self regulation amongst his peers: "I believe that you gentlemen, if you grasp the significance of this, if you realize the parts that you are playing in making these elements up and serving them out to millions of the public--shaping their minds and their thoughts--if you take yourselves seriously to that extent and realize that your influence is more potent than that of the school teacher or the educator in any other branch, and fight that in your individual way. Fight for certain standards of cleanliness and decency in this business 1 that you want preserved in your home and in society generally, the standards that you would want followed in the theaters if your children were going to the theaters.” The next year in January of 1922, Will Harrison Hays Sr.
    [Show full text]
  • P-74 Film Frame Collection
    P-74 Film Frame Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: 1889 – 1947, undated (bulk 1900 – 1933, undated) Extent: 5.8 linear feet Language: English Abstract: Specimens of motion picture film compiled and catalogued by Earl Theisen (1903-1973). A portion of the collection is derived from other motion picture history donations to the museum, but most of the items were collected by the donor. Biographical Note: Theisen (1903-1973) was the Honorary Curator of Motion Picture and Theatrical Arts at the then-called Los Angeles Museum for several years following 1931. He had a primary role at the museum in developing the Motion Picture Gallery. Much of the film collections in the museum’s History Department were acquired as a result of his efforts. He was a technician at the Dunning Process Plant, a member of the Society of Motion Picture Engineers, and a member of the Society’s Historical Committee. He wrote articles for the publication “The International Photographer” from about 1932 to 1936 and also served as its Associate Editor. In articles he discussed the history of motion pictures; film production and the film industry, including the art of animation; in a semi- regular column he covered news about the Hollywood industry. One of the articles from the May, 1934 issue noted that he was a “member of the Faculty as Lecturer in the Department of Cinematography, University of Southern California.” While serving as curator at the museum, Theisen became active as the Executive Secretary of the Motion Picture Hall of Fame at the California-Pacific International Exposition (1935-1936) at San Diego, California.
    [Show full text]
  • BEHRENDS a Or a Pills
    26 THE EVENING STAR, WASHINGTON, D. C., WEDNESDAY. MARCH 14, 1923. Lloyd is supported by Mr*. • Chance,” Under Bargain”; Wednesday, Dorothy Dal- Lady.” and "New Leather Pushers”; out Compromise”; Monday, Rodolpb Jack.” Straight." Paul Parrott in “Shoot Helene Chadwick, In I‘Brothers I Lloyd, formerly Mildred Davie. With i and Lyman Hove's "Gar- the Skin.” ton, In “On the High Seas"; Thursday, Saturday, Norma Talmadge, in ‘The Valentino, In "The Four Horsemen Will Rogers. In "Fruits of Faith." is den of Geyaer*." Jane Novak, In "Thelma": Friday. Secret of the Storm Country," also AMUSEMENTS Roberts, s "Binged Wings." Apocalype*."; Tuesday, Snowy Joe Daniels, In and comedy, and Balled," and mat- of the Irene Rich and little Bebe "'Jailed Man”; from Twenty-first Page ) baby ever caught by American. Saturday, Reid, in "Thirty Desmond, Baker. In ‘The Better Wednes- <ContlmiPd "the greatest Wallace inee attraction. William In Forrest, Wednesday and Thurs- York. Sunday, Chaney, Days.” "Around the World In 18 Days.” day, Stanley In ‘The Pride of a camera.” Lon In "Broken Paiomar"; Thursday, Elsie Ferguson, day Moore will be pictured Sunday Monday. Chains"; Monday, Taylor, play to be presented at Moore’s Rialto Colleen i and Marshall Laurette In In ‘The Outcast"; Friday, Claire week, the showing in ' "The Ninety and Nine." which i Netlan's "The Strangers Banquet" "Peg My Heart"; • Tuesday, Alice Theater next and o’ Olympic. New. Adams, in Spenders" and Sat- of Paramount’* production. "Racing i will b» augmented by Christie’s • Paul Parrott in "Shoot Straight”; Brady, in "Anna Aacends”; Wednesday, "The j yuey,” a laughable comedy, , Tuesday, and Kenneth Sunday Monday, Peter B.
    [Show full text]
  • Dorothy Arzner
    Dorothy Arzner Lived: January 3, 1897 - October 1, 1979 Worked as: director, editor, film cutter, screenwriter Worked In: United States by Allyson Nadia Field With a film career spanning from 1919 to 1943, fifteen years of which were spent as a director, Dorothy Arzner remains the most prolific woman studio director in the history of American cinema. She has received significant scholarly attention from feminist film critics and queer theorists who have been interested in this pioneer filmmaker both for her body of work and for the critical possibilities suggested by feminist approaches to reading that work as a whole. Arzner grew up in Hollywood, California, where her father owned a restaurant next to a theatre that was popular with actors. Her work in the film industry began when she started typing scripts for the Famous Players-Lasky Corporation, which would later become Paramount. After six months, she became a cutter and editor at Realart Studio, a subsidiary of Paramount. As chief editor, she cut and edited fifty-two films before being recalled to Paramount to cut and edit the Valentino vehicle Blood and Sand (1922), her first “big picture” and the first film for which she had undertaken some of the filming (Peary and Kay, 21). At Paramount, Arzner worked on several pictures with director James Cruze, often mentioned as her mentor, then left to write scripts for independent companies, among them Dorothy Davenport Reid Productions, for which she adapted an Adela Rogers St. Johns story on a scandalous trial as the important The Red Kimona (1925). Returning to work at Paramount, Arzner wrote the shooting script for Old Ironsides (1926), which she also cut and edited.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner.
    [Show full text]