Academy of Motion Arts & Picture Sciences

Total Page:16

File Type:pdf, Size:1020Kb

Academy of Motion Arts & Picture Sciences Academl' 0{ Mohon Pl~tL'<'? ,~rt s and I SC'~ (:':"~ !.. :-. Y. :-.:",', ANNIVERSARY · AND AWARDS BULLETI "l-_B_- ~~~~~: _~~: ~ . ~- ?~~: __ J ACADEMY OF MOTION PICTURE ARTS & SCIENCES EXECUTIVE OI'I'ICES AND LOUNGE: ROOSEVELT HOTEL, 7010 HOLLYWOOD BLVD. TEL. GR-2134 No. XXII HOllYWOOD, CALIF., JUNE 3, 1929 No. XXII The Academy's activities and responsibilities are growing steadily broader and more important. Among the subjects now receiving active attention are: Merit Awards for 1929 University Cooperation Book on College Course Branch meetings on sound problems Producers' and sound engineers' program Conciliation matters Wider Knowledge of the Academy In addition to these matters there are several others requmng constant considera~ tion and action, such as relations with other organizations, memberships, Academy speakers for dinners, lunches and so on, relations with national women's clubs, requests for endorsements, standard contract rulings, personal services to members, etc. Some of these subjects are covered in detail in this Bulletin. AWARDS AND ANNIVERSAR Y BANQUET The Second Anniversary and Awards Banquet, however, that we should get together and do things held the evening of May 16 in the Blossom Room for the good of all the branches of motion picture of the Roosevelt Hotel, was an unqualified success. production. Some of our dreams did not come true, Distinguished guests and speakers emphasized the but as we look back we find that we have not been prestige which the work of the Academy has at­ standing still. tained. More than 270 were present. After an hour "I want to explain to you to what length the of entertainment in the lounge, the formal presenta­ Academy has gone to arrive at its conclusions to tio'n of awards for the year 1928 was made at the be announced on this occasion for bestowing ~erit banquet. awards for the outstanding and distinctive achieve­ Academy President Douglas Fairbanks opened ments in pictures for the year 1928. We first asked the presentation ceremony with an announcement the entire membership of the Academy to nominate about the method of selection: candidates for the various awards of the year. It took . -"It is now two years since we gathered ·atour eight 'weeks in all to do this; over a thousand nom­ first dinner at the Biltmore Hotel and ·organized iilations were submitted. Then groups of five judges the Academy. We had · many rosy dreams at that each were selected from the five branches of the time, but like most dreams they were hazy. We felt Academy-five for the actors' branch, five for the directors' branch, and so on. Of the ten highest nom­ responsibility that we have taken on just through inees for awards in each group three were selected belonging to this profession. by the judges in the order of their excellence. These "This Academy now stands as a representative were then referred to a central board of judges who organization of the motion picture art and industry. made the final awards. In all, thirty judges were It stands as a liaison officer between the art and active in making these awards, so it is no mean honor the industry because it correlates and brings the to receive consideration under these conditions." two together. It also stands as the official point of contact for other organized groups-the universities WILLIAM C. DE MILLE and many other groups and for this reason the Academy now stands for the ideas and ideals of Mr. Fairbanks then turned the chair over to the motion picture. I was much impressed last week William C. de Mille who reviewed the develop­ when I was allowed the honor of representing you ment of the Acadamy: at the Stanford-Muybridge celebration of the fif­ tieth anniversary of the first moving picture in Palo "Two years ago the Academy was born. Most Alto. The significant thing was the University's of those present here tonight were there. A whole interest in what was going to happen in the next lot of us were dubious. The Academy had to prove fifty years and their realization that they should itself. It was an idea, an ideal that grew in the have a closer contact somewhere. The University brains of a little group of men. There was some realizes that the motion picture has entered the confusion as to an academy and the need of an field of literature and thus becomes the University's academy-what it could do, what it should do. business. Now, the Academy stands for that con­ Everybody took it with a grain of salt at first. It tact. Your Academy now really stands for some­ went on for a year-it took a year to organize thing; it is a representative body. We stand ready really-and then things began to happen. to make the contact for all bodies that want to "The seeds that had been planted- in the first make contact with the motion picture. year began to sprout in the second year and it "This is the first year the Academy has given began to function, and last year, due to many causes awards to the persons who deserve them in the and particularly to the work of a group of prob­ opinion of the Academy. As we all know, the ably fifty or seventy-five members, it has done re­ most valuable award that a worker can get is markably good work in beginning to function. One to have the acknowledged praise of his brother of the ways it functions is this: A great change workers. It means a great deal more to us than has come over the whole motion picture industry just the acclaim of the public. I don't think there since the Academy was organized. The talking pic­ is a professional man in the world who would not ture will be the motion picture from now on, or rather be praised by his fellow workers than re­ else I am so wrong that I have no right to stand ceive any acclaim the public could give him. The up here and address you. This means that the bestowal of these merit awards by the Academy motion picture has finally definitely entered the field is acknowledgment by the Academy that in its opin­ of dramatic literature. It will be an important ion each piece of work was the most outstanding part of the American dramatic literature that is or one of the most outstanding pieces of work dur­ going to be seen and heard by more people than ing the year, so to everyone I am going to call see any play in the theatre or read any printed play on tonight this is now a sort of graduation. in the United States. "Remember, these awards are given for work "We have taken on new responsibilities. It is accomplished during the year 1928. There is necessary for us to make contacts with other or­ only one award in this whole list that has any­ ganized groups representing collective thought be­ thing to do with talking pictures. I t seems strange cause the talking picture is going to be one of the when you stop and look over the field and see how most tremendous influences in our national life. many talking pictures are being distributed today . Millions of people are going to hear our language It was just a year ago that we had a debate in the spoken on the screen and it is going to be taken Academy rooms and one or two members were more or less as a standard. We have taken the re­ almost alone in predicting that within two or three sponsibility of establishing that standard and we years the silent picture would have ceased. are going to see that it will be something worth­ "It is also interesting to notice that in these while. The talking picture is going through the awards a good proportion of them have gone to world and is going to show people everywhere how persons who are not members of the Academy. the rest of the people in the world live. The talking Take Mr. Jannings, for instance, he is not a mem­ picture is going to develop a standard of speech, ber of the Academy-he is not even a citizen of pronounciation, and to a certain extent of philo­ of our country-but it did not prevent the Acad­ sophy. Such is the power of drama. The drama emy from giving him the award. Miss Gaynor has always been the mouthpiece of the people. Now is not a member of the Academy. Why ? God to how much greater extent is that going to be knows. I think she has been invited, in fact I true of talking pictures, the most broad form of know she has had an invitation. As you know, drama that the world has ever seen. This is the membership in the Academy is only by invitation. [2] People are invited to j01l1 the Academy when their award was for writing the original story, 'Under­ services to the motion picture industry have been world'. prominent enough and valuable enough to make " In the writers' group, the first award for the Academy feel that they would like to have adaptation was given to the adaptor of 'Seventh them as brother members. Heaven', Mr. Benjamin Glazer." Mr. Glazer came forward to receive his award. PRESENTATION "Honorable mention for writing the original story, 'The Last Command', was given to Mr. "The fu nction of the Academy is first to formu­ Lejos Biro, who is now in Germany.
Recommended publications
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • Ruth Prawer Jhabvala's Adapted Screenplays
    Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
    [Show full text]
  • Warner Hollywood
    Warner Brothers' NeuJ Playhouse Voted Gem of Gems as Crowds Throng Premiere • , BY ED~ SCHALLERT Cnl!'l111nhd tr(ltD ~· rIIU'·. ~!llp edltton.l"hllt · rlm~ .• Warner Brothers Theater was voted a gem In picture playhouse con­ struction last evening, and Its premiere was an event of events In the show world. + The new house had been sold cut cealec beneath mountains of cloth th performIng as the blJBtle part of the for weeks In advance, At 4 e Il.p- costume. Conslder3ble novelty wns pointed hour for the star. of the added to this act. because at th~ perf~tmance tra.mc was jammed to fact that the bustles and long traIns the degree that .It was almost: at a were detachable from the rest of the standstill. Throngs gathered on the costumeot their ,andown ambledvolition, about the stage sidewalks · for a block or more in There Is a very beautiful climax either direction from the intersec- to this prologue act, simply and ar­ tlon of Hollywood Boulevard and tl-Ucal1y staged, In which the mass­ WilcoY.: avenue, where the theater ~P:::SlI~~~.r efIects,.forllllS a g~OWlng Is located, to waU:h the arrival of I don't know whether anybody the celebrities, With a veritable ever did any mining In Hollywood aurora borealis display oC lights In the da~'s of 'oW, but the prologue' . " doesn't hcsltate to Include this nato aQdl~g to the general glamour, it of early California history. waf' another of the cinema capItal's Larx.'" Ceballos Is respon.'lbl~ for gl'eat evenings, the production.
    [Show full text]
  • Alan Crosland, the JAZZ SINGER (1927, 88 Min)
    August 27, 2013 (XXVII:1) Alan Crosland, THE JAZZ SINGER (1927, 88 min) Academy Awards—1929—Honorary Award (Warner Bros.) for producing The Jazz Singer, the pioneer outstanding talking picture, which has revolutionized the industry. National Film Registry—1996 Directed by Alan Crosland Adapted for film by Alfred A. Cohn Based on the short story by Samson Raphaelson (“The Day of Atonement”) Original music by Louis Silvers Cinematography by Hal Mohr Edited by Harold McCord Al Jolson...Jakie Rabinowitz May McAvoy...Mary Dale Warner Oland...The Cantor Eugenie Besserer...Sara Rabinowitz Otto Lederer...Moisha Yudelson Crossland directed John Barrymore in Don Juan, which had sync Richard Tucker...Harry Lee sound effects and music, but no dialogue, using Vitaphone. Cantor Joseff Rosenblatt…Cantor Rosenblatt - Concert Recital SAMSON RAPHAELSON (b. March 30, 1894, New York City, ALAN CROSLAND (b. August 10, 1894, New York City, New New York—d. July 16, 1983, New York City, New York) has 45 York—d. July 16, 1936, Hollywood, California, car accident) writing credits, among them 1988 “American Playhouse,” 1980 directed 68 films, among them 1936 The Case of the Black Cat, The Jazz Singer (play), 1965 “Wolken am Himmel,” 1959 1935 The Great Impersonation, 1935 King Solomon of “Startime,” 1956 Hilda Crane (play), 1955 “Lux Video Theatre,” Broadway, 1935 It Happened in New York, 1935 The White 1952 “Broadway Television Theatre,” 1949 “The Ford Theatre Cockatoo, 1934 The Case of the Howling Dog, 1934 Massacre, Hour” 1949 In the Good Old Summertime, 1947
    [Show full text]
  • Cinema's Unstable Texts
    Cinema’s Unstable Texts: A Historical Analysis of Textual Variation in the Film Industry By Mikhail L. Skoptsov B.A. New York University, 2010 M.A. University of Southern California, 2012 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Modern Culture and Media at Brown University Providence, Rhode Island May 2020 © Copyright 2020 by Mikhail Skoptsov This dissertation by Mikhail L. Skoptsov is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date______________ ____________________________ Philip Rosen, Advisor Recommended to the Graduate Council Date______________ ____________________________ Lynne Joyrich, Reader Date______________ ____________________________ Ariella Azoulay, Reader Approved by the Graduate Council Date______________ ____________________________ Andrew G. Campbell, Dean of the Graduate School iii Curriculum Vitae Mikhail Skoptsov graduated in 2010 from New York University with a B.A. in Cinema Studies with honors, a second major in the French language, and a minor in Producing. He subsequently graduated with an M.A. in Film Studies from the University of Southern California (USC) in 2012. His published academic works include a book chapter in Bringing History to Life Through Film: The Art of Cinematic Storytelling (2013), and articles in the online international journal Series (2015) and Contexts (Spring 2018), the official annual publication of the Haffenreffer Museum of Anthropology. A forthcoming book chapter will appear in The Hobbit in Film and Fiction: Essays on Peter Jacksons Hobbit Trilogy (2020). As a former film critic, he has published multiple reviews in Washington Square News and The Daily Trojan newspapers.
    [Show full text]
  • Napoleón Bonaparte Y El Cine: Una Interpretación Histórica
    Napoleón Bonaparte y el cine : una interpretación histórica Francesc Marí Company ADVERTIMENT . La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX ( www.tdx.cat ) i a través del Dipòsit Digital de la UB ( diposit.ub.edu ) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposici ó des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB . No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVER TENCIA . La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR ( www.tdx.cat ) y a través del Repositorio Digital de la UB ( diposit.ub.edu ) ha sido autorizada po r los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB .
    [Show full text]
  • ARSC Journal, Spring 1991 35 Operatic Vitaphone Shorts
    THE OPERATIC VITAPHONE SHORTS By William Shaman On 6 August 1926 "Vitaphone," the latest commercial sound-on-disc motion picture system, made its debut at the Warners' Theater in New York City. The feature film that evening, "Don Juan," with John Barrymore and Mary Astor, was a lavish costume picture with a pre-recorded soundtrack consisting of synchronized sound effects and a Spanish-flavored score written by Major Edward Bowes, David Mendoza, and Dr. William Axt, played by the New York Philharmonic Orchestra under Henry Hadley. There was no spoken dialogue. Eight short subjects preceded "Don Juan:" Will H. Hays, president of the Motion Picture Producers Association, welcoming the Vitaphone in a spoken address; the Overture to Tannhauser played by the New York Philharmonic, again with Hadley conducting; violinist Mischa Elman, accompanied by pianist Josef Bonime, playing Dvorak's "Humoresque" and Gossec's "Gavotte;" Roy Smeck, "Wizard of the Strings," in a medley of Hawaiian guitar, ukulele, and banjo solos; violinist Efrem Zimbalist and pianist Harold Bauer playing the theme and variations from Beethoven's "Kreutzer" Sonata, and three solos by singers Marion Talley, Giovanni Martinelli and Anna Case. By all accounts, the show was a resounding success. A steady flow of shorts and part-talking features would follow, beginning with the second Vitaphone show on 7 October 1926. On 6 October 1927 "The Jazz Singer" premiered in New York. The other major Hollywood studios, anticipating a favorable public response to sound films, had been involved in clandestine negotiations since 1926 and now were scrambling to secure a share of this lucrative new market.
    [Show full text]
  • After the Final Curtain Final the After
    After the Final Curtain After the Final After the Final Curtain America’s Abandoned Theaters Matt Lambros Matt Lambros JONGLEZ PUBLISHING Colonial Theatre – Laconia, New Hampshire Advertised in the Laconia Democrat as “One of the handsomest play-houses to be found in New England and far ahead of anything which the average city of Laconia can boast”, the Colonial Theatre in Laconia, New Hampshire opened in April 1914. It was designed by George. L. Griffin, a local architect, in the Neocolonial style for owner Benjamin Piscopo. Piscopo was from Venice, Italy and commissioned a fire curtain with a mural depicting the city of Venice as seen from the water. 30 31 Loew's 46th Street Theatre – Brooklyn, New York On February 24, 1927, Universal Chain Theatrical Enterprises, Inc. issued a call to the public in the Standard Union newspaper to help name their new theater on New Utrecht Avenue and 46th Street in the Boro Park neighborhood of Brooklyn, NY. The advertisement claimed that they were unable to come up with a name that was “sufficiently descriptive of the beauty of the Italian architecture, suggestive of the locality, the quality of the entertainment planned, and brief enough to be easily remembered.” They never received a suggestion that fit their criteria because the theater opened as the Universal Theatre on October 9, 1927. The Universal was designed by John Eberson, a famous theater architect known for his atmospheric style auditoriums. Atmospherics featured small twinkling lights in the ceiling (which was painted dark blue) to give the appearance of stars, with clouds projected across the ceiling from projectors located on both sides of the auditorium.
    [Show full text]
  • Crime Thriller Cluster 1
    Crime Thriller Cluster 1 movie cluster 1 1971 Chhoti Bahu 1 2 1971 Patanga 1 3 1971 Pyar Ki Kahani 1 4 1972 Amar Prem 1 5 1972 Ek Bechara 1 6 1974 Chowkidar 1 7 1982 Anokha Bandhan 1 8 1982 Namak Halaal 1 9 1984 Utsav 1 10 1985 Mera Saathi 1 11 1986 Swati 1 12 1990 Swarg 1 13 1992 Mere Sajana Saath Nibhana 1 14 1996 Majhdhaar 1 15 1999 Pyaar Koi Khel Nahin 1 16 2006 Neenello Naanalle 1 17 2009 Parayan Marannathu 1 18 2011 Ven Shankhu Pol 1 19 1958 Bommai Kalyanam 1 20 2007 Manase Mounama 1 21 2011 Seedan 1 22 2011 Aayiram Vilakku 1 23 2012 Sundarapandian 1 24 1949 Jeevitham 1 25 1952 Prema 1 26 1954 Aggi Ramudu 1 27 1954 Iddaru Pellalu 1 28 1954 Parivartana 1 29 1955 Ardhangi 1 30 1955 Cherapakura Chedevu 1 31 1955 Rojulu Marayi 1 32 1955 Santosham 1 33 1956 Bhale Ramudu 1 34 1956 Charana Daasi 1 35 1956 Chintamani 1 36 1957 Aalu Magalu 1 37 1957 Thodi Kodallu 1 38 1958 Raja Nandini 1 39 1959 Illarikam 1 40 1959 Mangalya Balam 1 41 1960 Annapurna 1 42 1960 Nammina Bantu 1 43 1960 Shanthi Nivasam 1 44 1961 Bharya Bhartalu 1 45 1961 Iddaru Mitrulu 1 46 1961 Taxi Ramudu 1 47 1962 Aradhana 1 48 1962 Gaali Medalu 1 49 1962 Gundamma Katha 1 50 1962 Kula Gotralu 1 51 1962 Rakta Sambandham 1 52 1962 Siri Sampadalu 1 53 1962 Tiger Ramudu 1 54 1963 Constable Koothuru 1 55 1963 Manchi Chedu 1 56 1963 Pempudu Koothuru 1 57 1963 Punarjanma 1 58 1964 Devatha 1 59 1964 Mauali Krishna 1 60 1964 Pooja Phalam 1 61 1965 Aatma Gowravam 1 62 1965 Bangaru Panjaram 1 63 1965 Gudi Gantalu 1 64 1965 Manushulu Mamathalu 1 65 1965 Tene Manasulu 1 66 1965 Uyyala
    [Show full text]
  • Once in a Lifetime
    AMERICAN CONSERVATORY THEATER Carey Perloff, Artistic Director • Ellen Richard, Executive Director PRESENTS Once in a Lifetime By George S. Kaufman and Moss Hart Directed by Mark Rucker American Conservatory Theater September 22–October 16, 2011 words on plays vol. xviii, no. 1 Elizabeth Brodersen Director of Education Dan Rubin Publications Manager Michael Paller Resident Dramaturg Emily Hoffman Publications and Dramaturgy Associate Amy Krivohlavek Marketing Writer Zachary Moull Dramaturgy Fellow Made possible by © 2011 AMERICAN CONSERVATORY THEATER, A NONPROFIT ORGANIZATION. ALL RIGHTS RESERVED. Table of Contents 1 Characters, Cast, and Synopsis of Once in a Lifetime 6 “A Loving Look at That Craziness”: An Interview with Director Mark Rucker by Dan Rubin 11 Mixing Media: An Interview with Video Designer Alexander V. Nichols by Amy Krivohlavek 16 Going Hollywood by Michael Paller 20 Entertainment Revolution: Video Killed the Vaudeville Star by Emily Hoffman 25 Terrible Mike and the Transition to Talkies by Dan Rubin 32 The Big Five: The Studio System in Early Hollywood by Emily Hoffman and Zachary Moull 34 Once in a Lifetime Glossary by Zachary Moull 44 Questions to Consider / For Further Information . ON THE COVER Charlie Chaplin in Modern Times (1936). Courtesy Jerry Murbach, Doctor Macro’s High Quality Movie Scans. Chaplin began his career in vaudeville in 1910 before becoming a silent film sensation. The arrival of sound films in the 1920s was a challenge for Chaplin, who had won worldwide fame with pantomime. He told one interviewer, “Dialogue does not have a place in the sort of comedies I make.” Modern Times marks the last appearance of Chaplin’s famous Little Tramp character and the final dialogue-free film of one of silent film’s last holdouts.
    [Show full text]
  • Le Film Complet.Pdf
    Acteur/actrice/Film représenté à la fin du fascicule (dernière ou avant- Volumes reliés Année de Société de production (sur dernière page) : à partir de Titre français du film (si différent Numéro Date (jj/mm/aaaa) : fascicules Titre du fascicule Auteur du texte Titre original du film Réalisateur (Prénom Nom) production Pays de production fascicule) 1930 (n°771) jusqu'en 1932 du titre du fascicule) reliés entre eux du film (n°1241) ; puis reprend en 1933 (n°1343), en alternance avec des ciné-revues Article Titre Art. 1 vol. relié n°1 au n° 1 (1922) s.d. 58 Le docteur Jekyll et Mr Hyde Maurice Aubyn Paramount Dr Jekyll and Mr Hyde John Stuart Robertson 1920 USA Films Harry / Cinématographes n° 2 03/12/1922 La Substitution Noël Mandeix Harry The Amazing Impostor Lloyd Ingraham 1919 USA n° 3 10/12/1922 Son Altesse Delphi Fabrice Gaumont Son Altesse Henri Desfontaines 1922 France Grandes productions n° 4 17/12/1922 Le Bâillon Abel Petibeau cinématographiques n° 5 24/12/1922 La Vocation de Mary Boisyvon Paramount Mary Ellen comes to town Elmer Clifton 1920 USA n° 6 31/12/1922 Au Fond de l'Océan M. de Clavet Paramount Deep Waters Maurice Tourneur 1920 USA n° 7 (1923) 07/01/1923 Villa Destin Maurice Aubyn Gaumont Villa Destin Marcel L'Herbier 1920 France n° 8 14/01/1923 Le Miracle M. Buanik Paramount The Miracle Man George Loane Tucker 1919 USA n° 9 21/01/1923 Goutte de Rosée Abel Petibeau Erka Lord and Lady Algy Harry Beaumont 1919 USA n° 10 28/01/1923 La Riposte V.
    [Show full text]