1000 and One--The Blue Book of Non-Theatrical Films

Total Page:16

File Type:pdf, Size:1020Kb

1000 and One--The Blue Book of Non-Theatrical Films T#e Boctk of Iljoh-Thtefnoaf Pihis. e/., Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY sf CONGRESS Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record 100(W0NE (FOURTH EDITION) IheBlueBook Tbndkatrical THE EDUCATIONAL SCREEN CHICAGO NEW YORK. The Educational Screen, Inc. DIRECTORATE Herbert E. Slaught, President, The Dudley Grant Hats, Chicago Schools. University of Chicago. Frank R. Greene, New York City. Frederick J. Lane, Treasurer, Chicago Schools. William R. Duftet, Marquette University. Joseph J. Weber, University of Ar- Nelson L. Greene, Secretary and Editor, kansas. Chicago, EDITORIAL ADVISORY BOARD A. W. Abrams, N. Y. State Department Dudley Grant Hats, Assistant Sup't. of of Education. Schools, Chicago. Richard Burton, University of Minnesota. F. Dean McCluskt, Purdue University. Carlos E. Cummincs, Buffalo Society of Natural Sciences. Rowland Rocers, Columbia University. Frank N. Freeman, The University of H. B. Wilson, Superintendent of Schools, Chicago. Berkeley, Calif. STAFF Nelson L. Greene, Editor-in-Chief. Geneva Holmes Huston Marie E. Goodenouch, Associate Editor. Rev. Frank E. Jensen Robert E. Clark, Circulation Manager. Marion F. Lanphier George H. Hill, Eastern Representative. Carlos E. Cummincs Stella Evelyn Myers Josephine F. Hoffman Marguerite Orndorfv Publications of The Educational Screen The Educational Screen, (including Moving Picture Age and Visual Education), now the only magazine in the field of visual education. Published every month except July and August. Subscription price, $1.50 a year ($2.00 for two years). (With "1001 Films," $1.75 and $2.25 respectively). In Canada, $2.00 ($3.00 for two years). Foreign Countries, $2.50 ($4.00 for two years). Comparative Effectiveness of Some Visual Aids in Seventh Grade Instruction, by Joseph J. Weber, Ph. D., of the University of Arkansas. The first published work of authoritative research on the visual field. A doctor's thesis accepted by Columbia University. With diagrams and reference tables. 131 pages, cloth. $1.50. (To subscribers, $1.00.) Visual Instruction in the Berkeley Schools, by Committee from the Berkeley Schools, Anna V. Dorris, Chairman. The first and finest thing of its kind. An exceedingly practical manual for all visual workers. 112 pages, paper cover, $1.00. (To subscribers, $.67.) Historical Charts of the Literatures (English, American, French, German), formerly published at Princeton, N. J., by Nelson Lewis Greene, A. M. Steadily used for the past 12 years by students and general readers everywhere. Re- vised and uniform editions of these charts are ready. Single copies 50 cents each. (To subscribers, $.37.) Special offer, one of each of 4 charts, $1.50. (To subscribers, $1.00.) Discounts on quantities on application. Visual Education—A Retrospect, an Analysis and a Solution, by George E. Stone. Twelve page pamphlet (Reprint). Price 15 cents (To subscribers, 10 cents) Visual Aids in Education, by Joseph J. Weber. Twelve page pamphlet (Reprint). Price 15 cents (To subscribers, 10 cents). The Stereograph as a Visual Aid, by Joseph J. Weber. Eight page pamphlet, with illustrations (Reprint). Price 15 cents (To subscribers, 10 cents). Bibliography on the Use of Visual Aids in Education, by Joseph J. Weber. Twelve page pamphlet (Reprint). Price 25 cents (To subscribers, 15 cents). —— x "1000 and One' (Fourth Edition) The Blue Book of Non-Theatrical Films • EDITORS Nelson L. Greene, Chairman Marie E. Goodenough Josephine F. Hoffman Rev. Frank E. Jensen Stella Evelyn Myers Marguerite Orndorff Published and Copyrighted, June, 1926 hy The Educational Screen inc. 5 SOUTH WABASH AVENUE CHICAGO, ILL. x . 1 2 ADVERTISEMENT "1000 and One" Photoplays of unique charm, beauty and educational importance, invaluable for teaching and unrivalled for general non-theatrical use. THE CHRONICLES OF AMERICA 1$ 16*44 Photoplays Beautiful and inspiring films reproducing with accuracy in every detail events of major importance in the life of our nation. Produced by the Yale University Press, with the cooper- ation of distinguished historians and technical experts, under the supervision and control of a Com- mittee of the Council of Yale University. The following fifteen subjects are now ready: Columbus, Jamestown, The Pilgrims, The Puritans, Peter Stuy- vesant, The Gateway to the West, Wolfe and Montcalm, The Eve of the Revolution, The Declaration of Independence, Daniel Boone, Vincennes, The Frontier Woman, Yorktown, Alexan- der Hamilton and Dixie. Write at once for a 64-page illustrated booklet. YALE UNIVERSITY PRESS FILM SERVICE Yale University, New Haven, Connecticut New York Office, 522 Fifth Avenue. (Physical Distributor, Pathe Exchange Inc.) Fourth Edition FOREWORD "1000 THIS is the Fourth Edition of and One." It is the result of many months of work by the editorial staff of The Educational Screen in gathering data, from all sources, on listed the , existing films. Every individual and every organization in I "Reference List" on pages 106-119 of the previous edition (1924) — ' .as well as the new producing and distributing organizations which years have f have come into existence during the intervening two — I been consulted directly and repeatedly. This systematic compilation makes for still greater accuracy and completeness of film information in the present edition. A comparison of the two editions will reveal the fact that some of the films listed in the 1924 edition appear again in this volume together with new material. No film was excluded from this issue merely because it had also appeared in the previous volume, but selection from such a mass of material was compulsory. The tendency has been to include as much new material in the various groups as was possible within the limits of the present volume. Therefore, (1) if a film desired was listed in the previous edition, and does not appear here, it is not safe to assume that the film is unobtainable; an inquiry to The Educational Screen will bring you full information concerning it; (2) if a film is desired on any phase of a subject which does not seem to be fully represented in this edition, The Educational Screen will be at all times ready and willing to give its patrons the benefit of its large supplementary file of existing films. The publication of this file in toto would*be out of the question. HOW TO USE "1000 AND ONE" THE classified subject index which immediately follows these introductory pages gives the general subject headings of the groups in which the films have been classified. In the body of the volume, the title of the film appears in bold type. The number in parentheses immediately after the title is the number of reels. The distributor of each film is indicated by the number or numbers (in Roman if the distributor has a system of exchanges; otherwise, in Arabic) at the extreme right of the last line of the description. These numbers refer to the Reference List of Producers and Dis- tributors on page 116 (for Roman numbers) and page 122 (for Arabic numbers) , where the exact address of each distributor is given. 4 FOREWORD "1000 and One" Cross references at the end of many of the groups refer to other groups in which may be found one or more films on the same or related subjects. The stars before a large number of the films listed indicate as follows: one (*) means that the film has been seen by our staff; ( * two * ) , that the film has been seen and reviewed in a previous issue of The Educational Screen; three (***), that The Educa- tional Screen considers the film to be exceptionally fine of its kind. We cannot attempt to name rental prices on films, for they vary endlessly. The distributor of the particular film should be consulted. The Educational Screen Does Not Rent Films, nor Distribute any Visual Materials. THE REFERENCE LIST OF PRODUCERS AND DISTRIBUTORS IN THIS list we have indicated as far as possible the distributors of "free" films—those to be had for the payment of transporta- tion charges both ways, sometimes with further conditions stipulated by those owning the films. In certain cases distributors have indicated whether some, or all of their film subjects were printed on non-flam (slow-burning) stock. If both "flam" and "non-flam" are named, users must as- certain from the distributor whether the particular film wanted can be secured on the stock desired. OFF-STANDARD FILMS NO Safety Standard films (28 mm.) are listed in this book, al- though much fine material is available in this form. As it requires a special projector, however, such listing would be useless to the majority of our readers. Some film libraries are also available in 18 mm. and 11 mm. sizes These also require special projecting apparatus, and no effort has been made to list the films of such libraries. UNIVERSITY EXTENSION SERVICE WE HAVE been forced to exclude a very important source of non-theatrical films, the State Universities and Extension Di- visions, for obvious reasons. These excellent services are entirely local, as a rule, and gladly give full information to all film-users Fourth Edition ADVERTISEMENT 5 ACME MOTION PICTURE PROJECTORS FOR the success- fuluseof motion pictures it is abso- lutely necessary to have a thoroughly reliable projector that can always be depended upon to show clear, bright pictures without delay or interrup- tion. Acme Motion Pic- ture Projectors are designed and con-
Recommended publications
  • Annual Reports, Town of Acton, Massachusetts
    , ANNUAL REPORT OF THE Several Official Boards OF THE Town of Acton MASSACHUSETTS FOR THE YEAR ENDING DECEMBER 3 1 1927 THE NEWS-ENTERPRISE HUDSON, MASS. 1928 , ANNUAL REPORT OF THE Several Official Boards OF THE Town of Acton MASSACHUSETTS FOR THE YEAR ENDING DECEMBER 3 1 1927 THE NEWS-ENTERPRISE HUDSON. MASS. 1928 TOWN OFFICERS, 1927 MODERATOR Allen Brooks Parker SELECTMEN Murray Brown Term expires 1928 Howard J. BilKngs Term expires 1929 Waldo E. Whiteomb Term expires 1930 TOWN CLERK Horace F. Tuttle TOWN TREASURER Frank W. Hoit ASSESSORS Warren H. Jones Term expires 1928 Arthur W. Emerson Term expires 1929 Henry L. Haynes Term expires 1930 OVERSEERS OF THE POOR Howard J. Billings Term expires 1928 Murray Brown Term expires 1928 Waldo E. Whiteomb Term expires 1928 COLLECTOR OF TAXES Charles A. Durkee TREE WARDEN James O'Neil CONSTABLES John T. McNiff Charles A. Durkee *Jesse A. Brigg's *Alan B. Frost *Did not take the oath. CEMETERY COMMISSIONERS Horace F. Tuttle Term expires 1928 Fred W. Green Term expires 1929 Wendell F. Davis .' Term expires 1930 4 SCHOOL COMMITTEE Mary L. Richardson Term expires 1928 Edgar H. Hall Term expires 1928 Spencer H. Taylor Term expires 1929 Lulu L. Clark Term expires 1929 Alice M. Carlisle Term expires 1930 Frank Toohey Term expires 1930 TRUSTEES OF MEMORIAL LIBRARY Horace F. Tuttle Term expires 1928 J. Sidney White Term expires 1929 Lucius A. Hesselton Term expires 1930 BOARD OF HEALTH iGeorge H. Tuttle Term expires 1928 Raymond F. Durkee Term expires 1929 Frank E. Tasker Term expires 1930 TRUSTEES OF THE ELIZABETH WHITE FUND William H.
    [Show full text]
  • “Canned History”: American Newsreels and The
    “Canned History”: American Newsreels and the Commodification of Reality, 1927-1945 By Joseph E.J. Clark B.A., University of British Columbia, 1999 M.A., University of British Columbia, 2001 M.A., Brown University, 2004 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May, 2011 © Copyright 2010, by Joseph E.J. Clark This dissertation by Joseph E.J. Clark is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date:____________ _________________________________ Professor Susan Smulyan, Co-director Date:____________ _________________________________ Professor Philip Rosen, Co-director Recommended to the Graduate Council Date:____________ _________________________________ Professor Lynne Joyrich, Reader Approved by the Graduate Council Date:____________ _________________________________ Dean Peter Weber, Dean of the Graduate School iii Curriculum Vitae Joseph E.J. Clark Date of Birth: July 30, 1975 Place of Birth: Beverley, United Kingdom Education: Ph.D. American Civilization, Brown University, 2011 Master of Arts, American Civilization, Brown University, 2004 Master of Arts, History, University of British Columbia, 2001 Bachelor of Arts, University of British Columbia, 1999 Teaching Experience: Sessional Instructor, Department of Gender, Sexuality, and Women’s Studies, Simon Fraser University, Spring 2010 Sessional Instructor, Department of History, Simon Fraser University, Fall 2008 Sessional Instructor, Department of Theatre, Film, and Creative Writing, University of British Columbia, Spring 2008 Teaching Fellow, Department of American Civilization, Brown University, 2006 Teaching Assistant, Brown University, 2003-2004 Publications: “Double Vision: World War II, Racial Uplift, and the All-American Newsreel’s Pedagogical Address,” in Charles Acland and Haidee Wasson, eds.
    [Show full text]
  • 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]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • The Development of a Movie Culture in a Small Provincial City 1919-1945
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. A Global Province? The Development of a Movie Culture in a Small Provincial City 1919-1945 Pauline Knuckey 2012 A Global Province? The Development of a Movie Culture in a Small Provincial City 1919-1945 A thesis presented in partial fulfillment of the requirements for the Degree of Master of Arts in History at Massey University Pauline Knuckey 2012 Acknowledgements While the writing of a thesis involves many hours of solitary activity, it cannot be done without the help and support of others. My thanks go first and foremost to my supervisors, Associate Professor James Watson and Dr John Griffiths, who have provided extremely valuable support, encouragement, and comment, and have ensured I have kept steadily working toward the end goal. To the staff of and services provided by Massey University Library, Palmerston North City Library, Alexander Turnbull Library, Ian Matheson City Archives and the New Zealand Film Archives, I give my appreciative thanks. To Sara McKinley at the Muncie Public Library in Indiana, many thanks for the time you took in helping a stranger, half way around the world. To those who gave up their time and invited me into their homes to share their movie-going memories, I hope I have done your memories justice. To my colleague and fellow researcher, John Annabell, I give my thanks for his interest in my project and for our many enjoyable discussions that provided focus and a renewed commitment to the task at hand.
    [Show full text]
  • Mexican American History Resources at the Briscoe Center for American History: a Bibliography
    Mexican American History Resources at the Briscoe Center for American History: A Bibliography The Briscoe Center for American History at the University of Texas at Austin offers a wide variety of material for the study of Mexican American life, history, and culture in Texas. As with all ethnic groups, the study of Mexican Americans in Texas can be approached from many perspectives through the use of books, photographs, music, dissertations and theses, newspapers, the personal papers of individuals, and business and governmental records. This bibliography will familiarize researchers with many of the resources relating to Mexican Americans in Texas available at the Center for American History. For complete coverage in this area, the researcher should also consult the holdings of the Benson Latin American Collection, adjacent to the Center for American History. Compiled by John Wheat, 2001 Updated: 2010 2 Contents: General Works: p. 3 Spanish and Mexican Eras: p. 11 Republic and State of Texas (19th century): p. 32 Texas since 1900: p. 38 Biography / Autobiography: p. 47 Community and Regional History: p. 56 The Border: p. 71 Education: p. 83 Business, Professions, and Labor: p. 91 Politics, Suffrage, and Civil Rights: p. 112 Race Relations and Cultural Identity: p. 124 Immigration and Illegal Aliens: p. 133 Women’s History: p. 138 Folklore and Religion: p. 148 Juvenile Literature: p. 160 Music, Art, and Literature: p. 162 Language: p. 176 Spanish-language Newspapers: p. 180 Archives and Manuscripts: p. 182 Music and Sound Archives: p. 188 Photographic Archives: p. 190 Prints and Photographs Collection (PPC): p. 190 Indexes: p.
    [Show full text]
  • Infoblatt Zum Film Als
    Die verlorene Welt Stummfilm mit Gerhard Gruber live am Klavier Mittwoch, 19. Oktober 2016, 19.30 Uhr OT The Lost World USA 1925 Stummfilm 92 Min,R Harry O. Hoyt B Marion Fairfax K Arthur Edeson D Wallace Beery Lewis Stone, Lloyd Hughes, Bessie Love, Arthur Hoyt Der junge Journalist Edward Malone (Lloyd Hughes) wünscht sich nichts sehnlicher als endlich seine Verlobte Gladys zu heiraten. Doch die will einen „richtigen“ Mann, der „dem Tod ins Auge sieht, ohne mit der Wimper zu zucken“. So schließt sich Ed einer Expedition des umstrittenen Wissenschaftlers Professor Challenger (Wallace Beery) an, der auf einem abgelegenen Hochplateau im Amazonasgebiet eine „verlorene Welt“ mit prähistorischen Kreaturen vermutet und außerdem nach dem verschollenen Wissenschaftler Maple White sucht. Mit von der Partie sind ferner Challengers Rivale, der Insektenforscher Summerlee (Arthur Hoyt), der Großwildjäger Lord Roxton (Lewis Stone) und Whites Tochter Paula (Bessie Love). Als sie nach langen Strapazen endlich ihr Ziel erreichen, stellen sie fest, dass sich dort tatsächlich eine prähistorische Fauna und Flora erhalten hat. Die riesigen Dinosaurier werden bald zu einer echten Gefahr für die Expedition. Nach einem Vulkanausbruch beschließen die Forscher einen Brontosaurier mit nach London zu nehmen. Dort angekommen, hinterlässt er eine Spur der Verwüstung…. Der zeitgenössischen Presse verschlug es fast den Atem: „Und jetzt rast er [der Brontosaurus] durch die Straßen der Weltstadt. Panik auf der ganzen Linie. Autos, Straßenbahnen in wilder Flucht. Weltuntergangsstimmung... Unerhört das Prestissimo dieser Szenenfolge, die im amerikanischen und europäischen Film einzigartig ist.“ Regisseur Harry Hoyt erzielte 1925 mit seinem Film, basierend auf einem Science-Fiction-Abenteuerroman von Arthur Conan Doyle, einen Kassenschlager und hatte keine Mühe den damaligen Produktionskostenrekord von einer Million Dollar einzuspielen.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced 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 t>leedthrough. 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 t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in ttie 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. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI* CHARITY WORK AS NATION-BUILDING: AMERICAN JEWISH WOMEN AND THE CRISES DSr EUROPE AND PALESTINE, 1914-1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mary McCune, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor Susan M.
    [Show full text]
  • National Arena
    I-. Broadway: A Critic Looks Back Lavery Drama, Hartman Revue Atkinson’s Scrapbook Recalls Dozen Years Coming Up By tht Associated Press of An Amusing Analytic Mind Emmett Lavery is the author of a new play premiering on Broad- By Jay Carmody way Tuesday evening at the Mans- One of the challenges flung to drama critics by persons who would field Theater. A revue, starring the Hartmans, much prefer flinging the critics over cliffs is: Why don’t you write fashionable comedy ballroom danc- something better? ing team, is the week's other hope- Some day in reply to this query, a modest, reticent little man in ful arrival. the drama reviewing trade will reach into his inner coat pocket and “The"Gentleman From Athens" is pull out a long list of titles which prove this already has been done. the name of Lavery’s drama, the He will start, perhaps, with Shaw’s “Critical Opinions and Essays,” action of which takes place in where the two volumes which have retained their popularity for half a century Washington, gentleman of the title is a member of Con- and which deal, in large part, with plays which otherwise would have gress. Sam Wanamaker is the di- been dead an interval. equal rector, Ralph Alswang is the de- There Are Dozens Such Books. signer, Martin Gosch is producing, He will go on from there to half a dozen titles by Max Beerbohm, in association with Eunice Healey. The cast includes a dozen and one half by George Jean Nathan, a handful by John Anthony Quinn, Edith Atwater, Alan Hewlitt, Feodor Mason Brown, Burns Mantle and a number of others.
    [Show full text]
  • Films Refusés, Du Moins En Première Instance, Par La Censure 1913-1916 N.B
    Films refusés, du moins en première instance, par la censure 1913-1916 N.B. : Ce tableau dresse, d’après les archives de la Régie du cinéma, la liste de tous les refus prononcés par le Bureau de la censure à l’égard d’une version de film soumise pour approbation. Comme de nombreux films ont été soumis plus d’une fois, dans des versions différentes, chaque refus successif fait l’objet d’une nouvelle ligne. La date est celle de la décision. Les « Remarques » sont reproduites telles qu’elles se trouvent dans les documents originaux, accompagnées parfois de commentaires entre [ ]. 001 16 avr 1913 As in a looking glass Monopole 3 rouleaux suggestifs. Condamné. 002 17 avr 1913 The way of the transgressor American Depicting crime. 003 17 avr 1913 White treachery American ? 004 18 avr 1913 Satan Ambrosio Cut out second scene as degrading to Christianity. Third scene: cut out monk intoxicated and other acts of crime. Forth scene: murder and acts of nonsense. 005 23 avr 1913 When men leave home Imperial ? 006 26 avr 1913 Sang noir Eclair ? 007 30 avr 1913 Father Beauclaire Reliance Muckery [=grossièretés]. 008 02 mai 1913 The Wayward son Kalem Too exciting. Burglary. 009 03 mai 1913 The auto bandits of Paris Eclair ? 010 05 mai 1913 Awakening of Papita Nestor ? 011 05 mai 1913 The Last Kiss Pasquali Adultère. (The chauffeur dream) 012 06 mai 1913 Dream dances Edison ? 013 06 mai 1913 Taps Bison Far too much flags; cut flags of U.S. war. A picture with no meaning. [Note du Dr.
    [Show full text]
  • First National News Dated May 1
    - COLLEEN-A'-- GEORGE MOORE ^- FITZMAURICE- \€ fill M t* •' j 7 Vol. III. No. 8. April 15/1928 " and then in 1928 came a great turning point in the history of the picture industry* "That year First National broke with FIVE famous record- breakers right off the bat! "Colleen Moore in 'Her Wild Oat', Richard Barthelmess in 'The Patent Leather Kid', 'The Private Life of Helen of Troy', 'Shepherd of the Hills' by Harold Bell Wright, and Richard Barthelmess in 'The Noose'— one right after another! And each one better than the last. "Of course everybody remembers these great hits today, just as they remember 'Abraham Lincoln/ 'The Sea Hawk,' and 'Birth of a Nation'. But the thing few people realize is that these five pictures that have come down in history were released in A SINGLE MONTH by A SINGLE COMPANY. "And on top of that First National followed right up with "I made more a dozen others just as big, including Colleen Moore in 'Lilac with 'The Time', Richard Barthelmess in 'The Little Shepherd of King- money dom Come', Charlie Murray in 'Vamping Venus', Johnny Patent Leather Hines in 'Chinatown Charlie', Harry Langdon in 'The Kid' than with Chaser', 'Ladies' Night in a Turkish Bath' with Jack Mulhall and Dorothy Mackaill, and Charlie Murray and George Sidney in 'Flying Romeos'. or ff "What a season that was! *Fill in here the titles of any "Of course all my house records were knocked sky-high. two of the greatest Specials "I remember as though it were yesterday how completely of the past or present and these great hits took the trade by storm.
    [Show full text]
  • The Picture Show Annual (1928)
    Hid •v Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannuaOOamal Corinne Griffith, " The Lady in Ermine," proves a shawl and a fan are just as becoming. Corinne is one of the long-established stars whose popularity shows no signs of declining and beauty no signs of fading. - Picture Show Annual 9 rkey Ktpt~ thcMouies Francis X. Bushman as Messala, the villain of the piece, and Ramon Novarro, the hero, in " Ben Hut." PICTURESQUE PERSONALITIES OF THE PICTURES—PAST AND PRESENT ALTHOUGH the cinema as we know it now—and by that I mean plays made by moving pictures—is only about eighteen years old (for it was in the Wallace spring of 1908 that D. W. Griffith started to direct for Reid, the old Biograph), its short history is packed with whose death romance and tragedy. robbed the screen ofa boyish charm Picture plays there had been before Griffith came on and breezy cheer the scene. The first movie that could really be called iness that have a picture play was " The Soldier's Courtship," made by never been replaced. an Englishman, Robert W. Paul, on the roof of the Alhambra Theatre in 18% ; but it was in the Biograph Studio that the real start was made with the film play. Here Mary Pickford started her screen career, to be followed later by Lillian and Dorothy Gish, and the three Talmadge sisters. Natalie Talmadge did not take as kindly to film acting as did her sisters, and when Norma and Constance had made a name and the family had gone from New York to Hollywood Natalie went into the business side of the films and held some big positions before she retired on her marriage with Buster Keaton.
    [Show full text]