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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Christmas Gifts for Your Loved Ones—All Kinds Abilene
txaye<l with all the reality for which to 1914, the scene goes C-C. Seeks Listing thla director la famous. eoguei to the girlhood of * mother ■ In HARVEST DAY Day Congreii In the superb emotional role of who watches her son march off to Of Rooms and Houses SCHOLARSHIPS Ralston has It her love IDLE TEXANS Lena Smith, Esther war. pictures affair, A call for the of any apart- MOVIE the finest characterization of her her sufferings and sac- The Associated Press) listing truly strivings, (By ments. rooms or furnished houses career on the screen. It has rifices for her son and the picture Tuesday her now vacant is being issued by the SlDCUGHfS and Starting with a ends where It began. Senate — Continue# on depth poaer. SERVICE debate chamber of commerce. All HELD NOW HAVEJOBS apart- AH) STUDENTS CAPITOL nomination of Albert L. Watson to ments listed with the office have Ann star of be a federal judge In Pennsylvania. been filled, and demands from tour- Pennington, dancing committee hears Julius — Methodist Society of Lobby AUSTIN. Dec. 17 Thirty-one ists desiring winter homes are com- 343 Texas U. the many Broadway revues and Barnes. Attending Texa« laborers who were Idle a year ing in daily. musical comedies, makes her debut Mercedes Observe Elections committee takes up an In Without Fees ;A. ? "Anyone having apartment Paying in question of eligibility of Senator ago now have jobs, according to in Vitaphone talking pictures a private home is urged to list it Annual of the state labor de- Warner Brothers’ "Gold of Program Grundy Pennsylvania. -
Josef Von Sternberg, L'américain
CINÉMA PROGRAMME Programmation de films muets en ciné-concert Visites Centre de recherche • Galerie des collections Visites guidées • Galerie des appareils Fondation Jérôme Seydoux-Pathé Josef von Sternberg, l’américain du 25 septembre au 18 octobreN°09 2019 73 avenue des Gobelins, 75013 Paris - 01 83 79 18 96 / www.fondation-jeromeseydoux-pathe.com Josef von Sternberg, l’américain du 25 septembre au 18 octobre 2019 La Fondation Jérôme Seydoux-Pathé revient sur les premiers pas de la carrière de Josef von Sternberg et plonge dans l'univers de ses films muets, d'une rare intensité. Cycle proposé et conçu par Théo Esparon, historien et programmateur, doctorant à l’Université Paris-Nanterre. Loin d’être seulement l’immigré autrichien sévère que l’on a bien voulu décrire, Josef von Sternberg fit ses premiers pas dans les studios de Fort Lee où il travaille avec les réalisateurs Emile Chautard et Maurice Tourneur. Après quelques épisodiques voyages à Londres, Berlin et Vienne, il réalise son premier film « The Salvation Hunters » en 1925, Theun Ring film © British écrit Film comme Institute une fable qui plonge dans la boue du port de San Pedro. C’est Chaplin qui, le premier, applaudit son travail ; il l’invite à écrire un scénario pour Mary Pickford et produit son film suivant, le seul pour lequel il n’est ni acteur ni réalisateur, « A Woman of The Sea ». Le premier film est abandonné et le second sera finalement détruit. La carrière de Sternberg, émaillée de faux départs, éclaire une histoire méconnue du cinéma. Elle naît dans le berceau cosmopolite de New York, se poursuit vers l’Ouest, croise la création de la Metro-Goldwyn-Mayer et le montage de la « Symphonie nuptiale » (« The Wedding March », 1928) d’Erich von Stroheim et s’assoit enfin à la Paramount avec l’immense succès des « Nuits de Chicago » (« Underworld », 1927). -
Hull Fa1nilies United States
Hull Fa1nilies • lll The United States By REV. WILLIAM E. HULL Copyright 1964 by WILLIAM E. HULL Printed by WOODBURN PRINTING CO - INC. Terre Haute, Indiana CONTENTS PAGE Appreciation ii Introduction ......................... ......... .................................... ...................... iii The Hon. Cordell Hull.......................................................................... 1 Hull Family of Yorkshire, England .................................................. 2 Hull Families of Somersetshire, England ........................................ 54 Hull Families of London, England ........... ........................................ 75 Richard Anderson Hull of New Jer;;ey .......................................... 81 Hull Families of Ireland ...................................................................... 87 Hull-Trowell Lines of Florida ............................................................ 91 William Hu:l Line of Kansas .............................................................. 94 James Hull Family of New Jersey.................................................... 95 William Hull Family of New Foundland ........................................ 97 Hulls Who Have Attained Prominence ............................................ 97 Rev. Wm. E. Hull Myrtle Altus Hull APPRECIATION The writing of this History of the Hull Families in the United States has been a labor of love, moved, we feel, by a justifiable pride in the several family lines whose influence has been a source of strength wherever families bearing -
Mujer Fatal» En El Ángel Azul (Der Blaue Engel, 1930), De Josef Von Sternberg1
NORBA-ARTE, ISSN 0213-2214, vol. XXVI (2006) / 177-200 FUENTES DEL MITO DE LA «MUJER faTAL» EN EL ÁNGEL AZUL (DER BLAUE ENGEL, 1930), DE JOSEF VON STERNBERG1 Angélica GarCÍA Manso Resumen La interrelación que tiene lugar entre el Cine y las demás Artes encuentra uno de sus ejem- plos más logrados en el filme El Ángel Azul (Der Blaue Engel), dirigido en 1930 por Josef von Sternberg. El cineasta austríaco, que convierte su película en heredera del mito finisecular de la «mujer fatal», recurre a dos tipos diferentes de fuentes para crear a su inmortal personaje de Lola-Lola: de un lado, la Literatura, puesto que Sternberg parte de una novela de Heinrich Mann para desarrollar su guión; de otro, la Iconografía, al aplicar a la protagonista femenina de su largometraje diversos iconos del imaginario occidental que quedaron vinculados al arquetipo de la femme fatale en la segunda mitad del siglo XIX. Palabras clave: Historia del cine, cine y su relación con las demás artes, Josef von Sternberg, El Ángel Azul, «mujer fatal», iconografía. Abstract The Blue Angel (Der Blaue Engel, 1930), by Josef von Sternberg, is a good example of the connection between Cinema and the other Arts. The Austrian filmmaker, who turns his film into a heir of the femme fatale myth, resorts to two different types of sources in order to cre- ate his unforgettable character of Lola-Lola: on the one hand, the Literature, since Sternberg got inspiration from a novel by Heinrich Mann for developing his script; on the other hand, the Iconography, because he applies to the female main character several icons from the western collective imaginary which were associated with the archetype of the femme fatale on the second half of 19th century. -
[, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience. -
Probablemente El Diablo: El Terror Elíptico De La Séptima Víctima
PROBABLEMENTE EL DIABLO: EL TERROR ELÍPTICO DE LA SÉPTIMA VÍCTIMA Francisco García Gómez Universidad de Málaga RESUMEN La séptima víctima, la primera película dirigida por Mark Robson, constituye un magnífico ejemplo de la concepción del terror que tenía el productor Val Lewton. Su cuarto filme para la RKO, el primero no dirigido por Jacques Tourneur, pone de manifiesto que Lewton era el auténtico responsable de su ciclo fantástico. PALABRAS CLAVE: RKO, Val Lewton, Mark Robson, serie B, terror, satanismo, paladismo. ABSTRACT «Probably the Devil: The Elliptical Terror in The Seventh Victim». The Seventh Victim, first film directed by Mark Robson, is a magnificent example of the producer Val Lewton’s terror concept. His fourth RKO film, the first without Jacques Tourneur, reveals that Lewton was the genuine responsible of his fantastic cycle. KEY WORDS : RKO, Val Lewton, Mark Robson, B Film, terror, satanism, paladism. 163 Una película a redescubrir y reivindicar, ése es el caso de La séptima víctima (The Seventh Victim, 1943), la cuarta del ciclo de nueve cintas de terror de serie B producidas por Val Lewton en la RKO entre 1942 y 19461. Dirigida por Mark Robson en su debut como realizador, fue además la primera cuya dirección no corrió a cargo de Jacques Tourneur, tras La mujer pantera (Cat People, 1942), Yo anduve con un zombi (I Walked with a Zombie, 1943) y El hombre leopardo (The Leopard Man, 1943). Precisamente a consecuencia de los grandes éxitos de público obtenidos con estas tres, el estudio decidió separar al tándem Lewton-Tourneur, convencido de que rendirían el doble por separado, poniendo en seguida al francés al frente de mayores presupuestos. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 – November 22, 2017) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. -
C:\Users\Sally\Documents\Sally
Spotlight News • Fall 2018 Page 1 Fall 2018 WHAT’S NEXT: November 4 and 5, 2018 Auditions for Executive Director The Ladies Foursome Langdon Playhouse While Robert Burns Other ways you can (See page 4) may have been correct in support us financially — aside November 8-18, 2018 noting that “The best laid from buying tickets, of course Arsenic and Old Lace schemes o’ mice an’ men — include advertising in the Langdon Playhouse (See page 4) Gang aft a-gley,” it’s nice Playbill or joining the when your plans don’t go Producers Circle. Individuals November 20, 2018 awry, or “a-gley.” The and businesses can participate Theatre of the Mind Langdon Playhouse point is our decision to alike. Ads are reasonably (See page 2) expand the Langdon priced, ranging in size from an Playhouse — in terms of seating eighth of a page to a full page, and single- November 29-December 1, 2018 Fourth Annual Madrigal Dinner capacity and the number of shows issue insertions are also available. First Alliance Church presented — has been successful so Producer’s Circle members pick a (See page 6) far. show they’d like to sponsor and their December 2 and 3, 2018 Through the efforts of our scenic level of commitment: Executive Producer, Auditions for designer and all-around handyman Co-Producer and Associate Producer. Singin’ in the Rain Chris Smith and other volunteers, we Producers are recognized in the Playbill Langdon Playhouse (See page 4) increased seating in the theater to a and on stage. capacity of nearly 100 and raised the Last but not least, you can become a December 2 and 3, 2018 stage so everyone has a great view. -
STUDY GUIDE SHOW SYNOPSIS HARVEY, the Classic Pulitzer Prize-Winning Broadway and Hollywood Comedy, Pulls Laughter out of the Hat at Every Turn
STUDY GUIDE SHOW SYNOPSIS HARVEY, the classic Pulitzer Prize-winning Broadway and Hollywood comedy, pulls laughter out of the hat at every turn. Elwood P. Dowd is charming and kind with one character flaw: an unwa- vering friendship with a 6-foot-tall, invisible white rabbit named Harvey. When Elwood starts to introduce his friend to guests at a society party, his sister Veta can't take it anymore. In order to save the family's social reputation, Elwood's sister takes him to the local sanatorium. But when the doctor mistakenly commits his anxiety-ridden sister, Elwood and Harvey slip out of the hospital unbothered, setting off a hilarious whirlwind of confusion and chaos as everyone in town tries to catch a man and his invisible rabbit. DISCUSSION QUESTIONS BEFORE THE SHOW AFTER THE SHOW Has anyone ever been to a live play before? How was Did you enjoy this performance? What was your it different from television or a movie? favorite part? What is the difference between a play and a musical? Who was your favorite character? Why? Why do you think some of the characters, Have you ever seen the movie Harvey? particularly Elwood, can see Harvey and others Did you have an imaginary friend as a young kid? can’t? What do you remember about them? Do you think Veta made the right decision in not allowing her brother to receive the medicine? Why Could you imagine still having an imaginary friend or why not? as an adult? How do you think others would respond Do you think Harvey is imaginary? Why or why to you in this situation? not? THEATRE 101 Ever wondered how to put on a play? ACTORS The actors are the people that perform the show There are many different elements that go into putting a show onstage.