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Mrs. Sidney Drew
Mrs. Sidney Drew Also Known As: Lucille McVey Drew, Lucille McVey, Jane Morrow Lived: April 18, 1890 - November 3, 1925 Worked as: co-director, co-producer, co-screenwriter, director, film actress, producer, screenwriter, theatre actress Worked In: United States by Casiana Ionita There were two Mrs. Sidney Drews. Both wrote for their husband’s films. The first wife, Gladys Rankin, was a dramatist who wrote under the name of George Cameron. Her play became the scenario for Sidney Drew’s first motion picture The Still Voice (1913). After the death of the first Mrs. Sidney Drew in January 1914, Sidney Drew married Lucille McVey the following July. The second Mrs. Drew, who also used the name Jane Morrow, began her career as a stage actress and then joined Vitagraph in early 1914. That same year she was part of Sidney Drew’s company of players. Sidney Drew was already established as an urbane and irreverent comedy actor-director, whose work is perhaps epitomized in the semi-scandalous race and gender-bending The Florida Enchantment (1914), which he directed at Vitagraph. The Drews (Lucille and Sidney) created their own style of domestic comedies, playing an on-screen couple, Polly and Henry, the woman towering over the man, poking fun at middle-class married life. Unlike the bawdy female partners played by Mabel Normand, Marie Dressler, and Alice Howell to make working-class couples look stupid, Mrs. Drew’s haughty matron helped to make middle-class couples look ridiculous. The extant Nothing to Wear (1917), for instance, is based on the premise that a woman with some money has entirely too much to wear, and her protest that she has “nothing to wear,” produces the inevitable exercise in comic futility for the brow-beaten husband seeking to please. -
Herbert Brenon Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Herbert Brenon 电影 串行 (大全) Quinneys https://zh.listvote.com/lists/film/movies/quinneys-7272298/actors The Clemenceau https://zh.listvote.com/lists/film/movies/the-clemenceau-case-3520302/actors Case Yellow Sands https://zh.listvote.com/lists/film/movies/yellow-sands-8051822/actors The Heart of Maryland https://zh.listvote.com/lists/film/movies/the-heart-of-maryland-3635189/actors The Woman With Four https://zh.listvote.com/lists/film/movies/the-woman-with-four-faces-17478899/actors Faces Empty Pockets https://zh.listvote.com/lists/film/movies/empty-pockets-62333808/actors Honours Easy https://zh.listvote.com/lists/film/movies/honours-easy-12124839/actors Wine, Women and https://zh.listvote.com/lists/film/movies/wine%2C-women-and-song-56291174/actors Song The Custard Cup https://zh.listvote.com/lists/film/movies/the-custard-cup-62595387/actors Moonshine Valley https://zh.listvote.com/lists/film/movies/moonshine-valley-6907976/actors The Eternal Sin https://zh.listvote.com/lists/film/movies/the-eternal-sin-21869328/actors Life's Shop Window https://zh.listvote.com/lists/film/movies/life%27s-shop-window-3832153/actors Laugh, Clown https://zh.listvote.com/lists/film/movies/laugh%2C-clown-1057743/actors God Gave Me Twenty https://zh.listvote.com/lists/film/movies/god-gave-me-twenty-cents-15123200/actors Cents The New Magdalen https://zh.listvote.com/lists/film/movies/the-new-magdalen-15865904/actors The Passion Flower https://zh.listvote.com/lists/film/movies/the-passion-flower-16254009/actors Sin https://zh.listvote.com/lists/film/movies/sin-16908426/actors -
Olga Petrova
Olga Petrova Also Known As: Minnie Collins, Muriel Harding, Madame Petrova, O. Petrova, Olya Petrova Lived: May 10, 1884 - November 30, 1977 Worked as: co-screenwriter, film actress, film company owner, musical comedy actress, producer, screenwriter Worked In: United States by Wendy Holliday As a girl in England at the turn of the century, Olga Petrova (born Muriel Harding) felt stifled by her father’s strict rules. According to her memoir, Petrova’s father told her that while she lived in his house and ate his bread, he would set the rules. Petrova was determined to live in her own house and eat her own bread (Petrova 55-56). Her success in reaching this goal, and more, is reflected in the title of her memoir, Butter with My Bread. According to her memoir, Petrova’s desire for independence led her to run away to become a governess, but it is sometimes difficult to tell the mythmaking from reality in Petrova’s writing. She eventually met a theatre agent and became a successful actress in musicals and vaudeville in both London and New York. She likely chose the stage name Olga Petrova herself and created her own back story as a glamorous Pole or Russian. Later Hollywood publicity claimed that the studio created this persona, but press clippings and her memoir suggest that Petrova used the name on the stage. Petrova began her film acting career in The Tigress (1914), directed by Alice Guy Blaché, whom she describes as wearing a “silken glove” but “capable of using a mailed fist” in the short piece, “A Remembrance” (102–103). -
Cissy Fitzgerald
Cissy Fitzgerald Also Known As: Marie Kathleen Cecilia Fitzgerald, Mrs. Oliver Mark Tucker, "The Girl with the Wink" Lived: February 1, 1873 - May 10, 1941 Worked as: dancer, film actress, film company owner, producer, theatre actress Worked In: United States by Maggie Hennefeld With a film career spanning over four decades—from a vaudeville dancer in an early Edison actuality and a silent comic film actress to an independent producer in the 1920s and a character actor in talkies in the 1930s— Cissy Fitzgerald experienced the vicissitudes of early film history. Born on February 1, 1873, christened Marie Kathleen Cecilia Fitzgerald, and educated in a British convent, Fitzgerald was already famous for her stage dancing and coquettish wink when she made her first screen appearance in 1896. Best known as “The Girl With the Wink,” Fitzgerald primarily worked in theater until her transition to comedic film acting in 1914. She appeared in multiple, trans-Atlantic runs of “The Gaiety Girl,” “The Foundling,” and “The Family.” Although she only appeared in one film role prior to 1914, an Edison Vitascope recording of her dance act in a Boston Keith-Albee show, her stage personality radiated cinematic qualities. From her saucy lingerie dancing to her gleefully incessant winking, Fitzgerald integrated bodily displays with the act of looking while most films were still shot in static, long-framed, proscenium views. When “she kicked herself” up from $50 to a $350 per week salary in her first American engagement, an unlabeled scrapbook clipping found in the Robinson Locke collection at the New York Public Library advertised Fitzgerald’s exciting range of allures: “Her dancing is distinguished for its seductiveness, its lingerie display, and its celebrated wink accompaniment.” Her first film appearance, as Charles Musser explains, was viewed as a supplement to her live stage performance (170). -
View Show Notes
https://archive.org/details/bigpicturemoneyp00epst/page/14 So there’s not a whole lot on the notes front for this episode because I didn’t have a ton of time to write anything out but I have been reading through Wikipedia pages for a couple days and wrote a little bit. This one is going to be about the history of Hollywood or, more specifically, the history of major motion picture production companies. Also just for the record, or more just to tell you, for the vinyl episode and my future episode about the music industry Ehtisham and I alluded to I kind of set up the background information and then I’m going to bring it forward into today, but with this episode and its future companion episode I intend to do the opposite. In the film industry there is what are known as ‘The Big 5’ companies, (for the record depending on who you ask and what time period you are working in this could be the Big 4-6 so it gets tricky) these are the ones that produce an absolutely massive amount of the media we consume. According to Wikipedia this means companies that make 80-85% of the box office revenue made in the country. This concept is not too recent however, as the Big 5 as we know them today are the second iteration of the group. The original Big 5 were: MGM, Paramount, Fox, Warner Bros., and RKO. The current Big 5 are: Universal, Paramount, Warner Bros., Disney, and Columbia. I plan on just kinda going through the old Big 5 and then the new Big 5 one by one, following their beginning and rise and/or demise. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
Alice Guy Blaché
Alice Guy Blaché Also Known As: Alice Blache, Alice Guy, Alice Guy-Blaché Lived: July 1, 1873 - March 24, 1968 Worked as: assistant director, co-director, co-producer, co-screenwriter, director, film company owner, lecturer, producer, screenwriter, secretary, writer Worked In: France, United States by Alison McMahan From 1896 to 1906 Alice Guy was probably the only woman film director in the world. She had begun as a secretary for Léon Gaumont and made her first film in 1896. After that first film, she directed and produced or supervised almost six hundred silent films ranging in length from one minute to thirty minutes, the majority of which were of the single-reel length. In addition, she also directed and produced or supervised one hundred and fifty synchronized sound films for the Gaumont Chronophone. Her Gaumont silent films are notable for their energy and risk-taking; her preference for real locations gives the extant examples of these Gaumont films a contemporary feel. As Alan Williams has described her influence, Alice Guy “created and nurtured the mood of excitement and sheer aesthetic pleasure that one senses in so many pre-war Gaumont films, including the ones made after her departure from the Paris studio” (57). Most notable of her Gaumont period films is La Vie du Christ (1906), a thirty-minute extravaganza that featured twenty-five sets as well as numerous exterior locations and over three hundred extras. In early 1907, Guy resigned her position as head of Gaumont’s film production arm in Paris although she did not end her business relationship with Gaumont. -
Herbert Brenon Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ)
Herbert Brenon Филм ÑÐ ¿Ð¸ÑÑ ŠÐº (ФилмографиÑ) Quinneys https://bg.listvote.com/lists/film/movies/quinneys-7272298/actors The Clemenceau Case https://bg.listvote.com/lists/film/movies/the-clemenceau-case-3520302/actors Yellow Sands https://bg.listvote.com/lists/film/movies/yellow-sands-8051822/actors The Heart of Maryland https://bg.listvote.com/lists/film/movies/the-heart-of-maryland-3635189/actors The Woman With Four Faces https://bg.listvote.com/lists/film/movies/the-woman-with-four-faces-17478899/actors Empty Pockets https://bg.listvote.com/lists/film/movies/empty-pockets-62333808/actors Honours Easy https://bg.listvote.com/lists/film/movies/honours-easy-12124839/actors Wine, Women and Song https://bg.listvote.com/lists/film/movies/wine%2C-women-and-song-56291174/actors The Custard Cup https://bg.listvote.com/lists/film/movies/the-custard-cup-62595387/actors Moonshine Valley https://bg.listvote.com/lists/film/movies/moonshine-valley-6907976/actors The Eternal Sin https://bg.listvote.com/lists/film/movies/the-eternal-sin-21869328/actors Life's Shop Window https://bg.listvote.com/lists/film/movies/life%27s-shop-window-3832153/actors Laugh, Clown https://bg.listvote.com/lists/film/movies/laugh%2C-clown-1057743/actors Sorrell and Son https://bg.listvote.com/lists/film/movies/sorrell-and-son-1058426/actors God Gave Me Twenty Cents https://bg.listvote.com/lists/film/movies/god-gave-me-twenty-cents-15123200/actors Peter Pan https://bg.listvote.com/lists/film/movies/peter-pan-1537132/actors The Case of Sergeant Grischa https://bg.listvote.com/lists/film/movies/the-case-of-sergeant-grischa-1548848/actors -
Mr. and Mrs. Raymond E. Robinson Collection of Film Stills and Photographs MS117
http://oac.cdlib.org/findaid/ark:/13030/c8j1059x No online items Mr. and Mrs. Raymond E. Robinson Collection of Film Stills and Photographs MS117 Finding aid prepared by ShinEui Park Clay Stalls Department of Archives and Special Collections, William H. Hannon Library, Loyola Marymount University 1 LMU Drive Los Angeles, CA, 90045-2659 (310) 338-5710 [email protected] 2014 Mr. and Mrs. Raymond E. MS117 1 Robinson Collection of Film Stills and Photographs MS117 Title: Mr. and Mrs. Raymond E. Robinson Collection of Film Stills and Photographs Identifier/Call Number: MS117 Contributing Institution: Department of Archives and Special Collections, William H. Hannon Library, Loyola Marymount University Language of Material: English Physical Description: 1.0 Box Date (inclusive): 1920-1933 Abstract: This small collection consists of film stills, publicity portrait photographs of film actors and actresses, and personal photographs that Mr. and Mrs. Raymond E. Robinson donated to Loyola Marymount University. Conditions Governing Access Note Collection is open to research under the terms of use of the Department of Archives and Special Collections. Acquistion Information Gift of Mr. and Mrs. Raymond E. Robinson, 8/6/1973. Arrangement The collection was arranged in the order in which the photographs were found in the envelope originally storing them. Box and folder entries were based on captions from the photographs or deduced by using clues provided by the photographs themselves. Publication Rights Materials in the Department of Archives and Special Collections may be subject to copyright. Unless explicitly stated otherwise, Loyola Marymount University does not claim ownership of the copyright of any materials in its collections. -
The Silent Film Project
e t 02-28-2018 Films that have completed scanning:Th Silen Film Project TITLE YEAR STUDIO DIRECTOR STAR e 13AdventuresWashington of BillSquare and [1921]1928 UniversalPathegram MelvilleRobert N.W. BradburyBrown JeanBob SteeleHersholt Alic Joyce Bob, The (Skunk, The) After the Storm (Poetic [1935] William Pizor Edgar Guest, Al Shayne Gems) African Dreams [1922] Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The Aladdin And The 1917 Fox Film C. M. Franklin Francis Carpenter Wonderful Lamp (Aladdin) Alexandria 1921 Burton Burton Holmes Holmes An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest Animals of the Cat Tribe 1932 Eastman Teaching Films Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales Aryan, The 1916 Triangle William S. Hart William S. Hart At First Sight 1924 Hal Roach J A. Howe Charley Chase Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee, Sideny Drew Autumn (nature film) 1922 Babies Prohibited 1913 Thanhouser Lila Chester Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri Barnyard Cavalier 1922 Christie Bobby Vernon Barnyard Wedding [1920] Hal Roach Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel Bebe Daniels & Ben Lyon 1931- Bebe Daniels, Ben Lyon home movies 1935 Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean Below The Deadline 1929 Chesterfield J. P. McGowan Frank Leigh Big Pal 1925 William John G. Adolfi William Russell Russell Blackhawk Silent Tailers / 1920- Blackhawk [Our Next Attraction] 1927 Black Sambo's Escape [1925] Keystone e al f e e f , e e f Th go o th Silent Film Project at th Library o Congress is to borrow catalog, digitally preserve, and ensur th availability o silent (and selected sound era) films for public viewing and research.