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Buster Keaton Film Locations: a Silent Echoes Tour of Los Angeles
BUSTER KEATON FILM LOCATIONS: A SILENT ECHOES TOUR OF LOS ANGELES Copyright 2005 John Bengtson. All rights reserved. The following self-guided tour directions have been provided as a special bonus to John Bengtson’s “Touring Los Angeles Through the Films of Buster Keaton” presentation at the UCLA Film and Television Archive. (You can also download this document from the Archive’s website at www.cinema.ucla.edu.) New locations have been added here to the ones discussed in Bengtson’s acclaimed book, Silent Echoes: Discovering Early Hollywood Through the Films of Buster Keaton (www.SilentEchoes.net, Santa Monica Press: 800-784-9553). Happy navigating your way around town! Hollywood Tour The Hollywood tour begins, symbolically, at the corner of Hollywood and Vine (1). Here Keaton jumped onto a fire truck in The Cameraman. Proceed west down Hollywood Boulevard past Highland, to Mann’s (formerly Grauman’s) Chinese Theater. There, across the street between Highland and Orange, at 6904 Hollywood Blvd., is the former Mary Moll Building (2), which appeared briefly during the film-editing sequence from Sherlock Jr. Turn back east down Hollywood Blvd., and turn right (south) onto Cahuenga, stopping near the corner. The alley on the east side of Cahuenga (3) is the alley from Cops where Keaton grabs a passing car one- handed. Proceed south down Cahuenga a few yards until you reach the parking lot at 1622 Cahuenga (4), the lot where Brown Eyes was kept safe in Go West. This parking lot also appears in The Cameraman. Across the street from the parking lot (5) is the site of the former fire station that appears in Three Ages and The Cameraman. -
My Wonderful World of Slapstick
THE THIS BOOK IS THE PROPERTY OF Georgia State Bo»r* of Education AN. PR,CLAun\;v eSupt of School* 150576 DECATUR -DeKALB LIBRARY REGIONAI SERVICE ROCKDALE COUNTY NEWTON COUNTY Digitized by the Internet Archive in 2012 with funding from Media History Digital Library http://archive.org/details/mywonderfulworldOObust MY WONDERFUL WORLD OF SLAPSTICK MY WO/VDERFUL WORLD OF SLAPSTICK BUSTER KEATON WITH CHARLES SAMUELS 150576 DOVBLEW& COMPANY, lNC.,<k*D£H C(TYt HlW Yo*K DECATUR - DeKALB LIBRARY REGiOMA! $&KZ ROCKDALE COUNTY NEWTON COUNTY Library of Congress Catalog Card Number 60-5934 Copyright © i960 by Buster Keaton and Charles Samuels All Rights Reserved Printed in the United States of America First Edition J 6>o For Eleanor 1. THE THREE KEATONS 9 2. I BECOME A SOCIAL ISSUE 29 3. THE KEATONS INVADE ENGLAND 49 4. BACK HOME AGAIN IN GOD'S COUNTRY 65 5. ONE WAY TO GET INTO THE MOVIES 85 6. WHEN THE WORLD WAS OURS 107 7. BOFFOS BY MAN AND BEAST 123 8. THE DAY THE LAUGHTER STOPPED 145 9. MARRIAGE AND PROSPERITY SNEAK UP ON ME 163 10. MY $300,000 HOME AND SOME OTHER SEMI-TRIUMPHS 179 11. THE WORST MISTAKE OF MY LIFE 199 12. THE TALKIE REVOLUTION 217 13. THE CHAPTER I HATE TO WRITE 233 14. A PRATFALL CAN BE A BEAUTIFUL THING 249 15. ALL'S WELL THAT ENDS WELL 267 THE THREE KeAtOnS Down through the years my face has been called a sour puss, a dead pan, a frozen face, The Great Stone Face, and, believe it or not, "a tragic mask." On the other hand that kindly critic, the late James Agee, described my face as ranking "almost with Lin- coln's as an early American archetype, it was haunting, handsome, almost beautiful." I cant imagine what the great rail splitter's reaction would have been to this, though I sure was pleased. -
Spite Marriage
Spite Marriage (1929) By John Bengtson, © 2004 Buster meets Dorothy in front of the east end of the Museum of Natural History at Exposition Park facing the Rose Garden. A vintage photo of the museum and Exposition Park. The cast and crew take a break filming the art museum scene in front of the Rose Garden in Exposition Park. Leila Hyams (seated , far left) appears in a fox hunting outfit, although she does not appear in the scene filmed here. She may have been dressed for a country club scene that was cut from the final film. To her right is Edward Earle, who plays Lionel Benmore. Director Ed Sedgwick is in the center. Between him and Buster is Ernie Orsetti, an outfielder for the St. Louis Cardinals who had returned from the World Series to work for Buster. Notice Norman MacNeil, the musician on the silent film set, with an accordion, behind Buster. 1 The hand placing the wedding ring in this shot is a hand double standing in for Buster. Buster lost the tip of his right index finger in a childhood accident, and his shortened finger is plainly visible in other shots. Buster used a hand double for a similar wedding ring shot in his earlier feature film Battling Butler. Hand doubles were often used to film insert shots in order to allow the stars to go home a bit early, but in this case it may have been an artistic decision. Lionel confronts Buster outside of the Hotel Carmel, located at 1451 Second Street in Santa Monica, on the corner of Broadway. -
Appendix A: 1976 Clown College and 1977 Blue Unit Route
A p p e n d i x A : 1 9 7 6 C l o w n College and 1977 Blue Unit Route There’s nothing so dangerous as sitting still. You’ve only got one life, one youth, and you can let it slip through your fingers; nothing easier. Willa Cather, The Bohemian Girl CHAPTER 1 • ROMANCE OF THE RED NOSE Clown College, Ringling Arena, Venice, Sep.–Nov. 1976 CHAPTER 2 • BOWL OF CHERRIES Rehearsals and first performances, Ringling Arena, Venice, Jan. 10–Feb. 2 CHAPTER 3 • RUBBER NOSE MEETS THE ROAD Lakeland Civic Center, Feb. 4–6 Atlanta Omni, Feb. 9–20 Savannah Civic Center, Feb. 22–23 Asheville Civic Center, Feb. 25–27 Raleigh, Dorton Arena, Mar. 1–6 Fayetteville, Cumberland County Memorial Arena, Mar. 8–9 Columbia, Carolina Coliseum, Mar. 11–13 Charlotte Coliseum, Mar. 15–20 CHAPTER 4 • THE SHOW BUSINESS Knoxville, Civic Coliseum, Mar. 22–27 Cincinnati, Riverfront Coliseum, Mar. 30–Apr. 3 168 Appendix A Washington, DC, Armory, Apr. 6–17 Largo, Capital Centre, Apr. 20-May 1 CHAPTER 5 • LOVE ‘EM & LEAVE ‘EM Binghamton, Broome County Veterans Memorial Arena, May 4–8 Hartford, Civic Center, May 10–15 Portland, Cumberland County Civic Center, May 17–22 CHAPTER 6 • GOOD OL’ DAYS? Troy, RPI Field House, May 25–30 Providence Civic Center, June 1–5 Niagara Falls, International Convention Center, June 8–12 Wheeling Civic Center, June 15–19 Charleston Civic Center, June 21–22 Memphis, Mid-South Coliseum, June 24–26 CHAPTER 7 • RODEO ROUTE Little Rock, T.H. Barton Coliseum, June 28–29 Huntsville, von Braun Civic Center, July 1–4 Dallas, Convention Center, July 6–11 New Orleans, Superdome, July 14–17 Houston, Summit, July 20–31 Abilene, Taylor County Expo Center, August 2–3 Lubbock, Civic Center, August 5–7 CHAPTER 8 • SPIRIT OF ST. -
Films from the Archives of the Museum of Modern Art and the George Eastman House
'il The Museum of Modem Art FOR ™IATE RRLEASF yvest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart KINO EYE OF THE 20s FEATURES FILM MASTERPIECES Films from the Archives of The Museum of Modern Art and The George Eastman House The Museum of Modern Art, in collaboration with the George Eastman House in Roches ter, will present several film masterpieces as part of its program "Kino Eye of the 20s," starting July 23 with Ilya Trauberg's "China Express." The program, scheduled through August 26, will also include such film classics as Carl Dreyer's "The Passion of Joan of Arc;" Pudovkin's "Mother;" Erich von Stroheim's "Greed;" F.W. Murnau's "The Last Laugh;" Eisenstein's "Potemkin;" and "The Cabinet of Dr. Caligari," one of the most controversial films of its time. Thirty-seven pictures were selected by Beaumont Newhall, Director of the George Eastman House, who is responsible for organizing the current photographic exhibition, "Photo Eye of the 20s," to which "Kino Eye of the 20s" is a companion program. Mr. Newhall will appear at the Thursday evening performance, July 30 at 8 p.m., fjhen he will introduce the Murnau film "Sunrise" and discuss the series. A strong kinship between photography and film existed in this decade, when the film found its syntax and structure, according to Mr. NeT;hall. "In a quarter of a century the movies had grown from a vaudeville novelty to a distinct and po';erful art form." The decade saw the production of some of the greatest films ever made. -
Prólogo La Figura Del Gran Buster Keaton Está Actualmente Un Poco
Prólogo La figura del gran Buster Keaton está actualmente un poco olvidada ya que las últimas genera- ciones de espectadores no es demasiado cinéfila y está más acostumbrada al cine (?) de la última hornada. El cinéfilo refinado, sibarita, está en crisis y los amantes del cine mudo pade- cen de sequía en los “video-clubs”, donde muy rara vez y con cuentagotas se encuentran aque- llos títulos míticos que tanto nos interesan. Años atrás, sobretodo a partir de los años 30, Kea- ton sufrió un eclipse debido al culto excesivo que se hacía entonces al gran Charles Chaplin. Por si fuera poco, en España, se le conocía por un horrible apodo, “Pamplinas”, del cual prefie- ro no hablar por que lo considero sumamente vulgar. Después están los falsos mitos que siempre han rodeado la filmografía de Buster Keaton. Por ejemplo, que estuvo encerrado varios años en un manicomio lo cual es completamente falso. Si es cierto que tenía una excesiva afición al juego y a la bebida que terminaron por destruir su reputación y su carrera. Puesto en la “lista negra” por Louis B.Mayer, ningún estudio quería darle trabajo condenándolo a un ostracismo injusto. Aquí se ha escrito mucha (mala) literatura al respecto. Mayer y Keaton tuvieron problemas personales y diferencias respecto a lo que debía ser un buen film cómico sonoro. El tiempo le ha dado la razón a éste, porque los cómicos que el zar Mayer aupó hoy no son más que un recuerdo. ¿Quién se acuerda hoy de Eddie Cantor o de Jimmy Durante por citar a alguien? Al llegar el sonoro a Keaton le reprocharon tener una voz ronca, muy grave, y Mayer le quiso marginar para proteger a Jimmy Durante, quién tenía una voz aún más ronca, y pretendieron encerrarle en las comedias de boulevard importadas desde Broadway en vez de desarrollar películas más estrictamente cinematográficas que los talkies de aquella década. -
Catalogo Giornate Del Cinema Muto 2016
ASSOCIAZIONE CULTURALE Chiba, Max Laiguillon, Eric Lange (Lobster Films); “LE GIORNATE DEL CINEMA MUTO” Lenny Borger. Germania: Thilo Gottschling, Andreas Lautil, Soci fondatori Matteo Lepore (ARRI Media GmbH); Karl Griep, Paolo Cherchi Usai, Lorenzo Codelli, Evelyn Hampicke, Egbert Koppe, Julika Kuschke Piero Colussi, Andrea Crozzoli, Luciano De (Bundesarchiv-Filmarchiv, Berlin); Hans-Michael Giusti, Livio Jacob, Carlo Montanaro, Mario Bock (CineGraph, Hamburg); Dirk Foerstner, Quargnolo†, Piera Patat, Davide Turconi† Martin Koerber (Deutsche Kinemathek, Presidente Berlin); Anke Mebold, Michael Schurig, Thomas Livio Jacob Worschech (Deutsches Filminstitut – DIF); Direttore emerito Andreas Thein (Filmmuseum Düsseldorf); David Robinson Stefan Drössler (Filmmuseum München); Ralf Forster (Filmmuseum Potsdam); Anke Wilkening Direttore (Friedrich-Wilhelm-Murnau-Stiftung); Christiane Jay Weissberg Reuter (Spielzeugmuseum der Stadt Tübingen); Lea-Aimee Frankenbach; Jeanpaul Goergen; Ringraziamo sentitamente per aver collaborato Megumi Hayakawa; Martin Loiperdinger. al programma: Giappone: Hisashi Okajima, Akira Tochigi Argentina: Fernando Martín Peña (Filmoteca (National Film Center of The National Museum of Buenos Aires); Paula Félix-Didier, Leandro Listorti Modern Art, Tokyo); Hiroshi Komatsu; (Museo del Cine Pablo C. Ducros Hicken, Buenos Johan Nordström. Aires). Italia: Flavia Barretti, Andrea Meneghelli, Australia: Joel Archer (Golden Oldies Cinema, Davide Pozzi, Elena Tammaccaro (Cineteca di Brisbane); Sally Jackson, Meg Labrum, Michael -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
HOW SOUND CINEMA ARRIVED in ECUADOR: Case Study of Quito in the Late 1920S and Early 1930S
HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 HOW SOUND CINEMA ARRIVED IN ECUADOR: Case Study of Quito in the Late 1920s and Early 1930s Bolivia Erazo TURUN YLIOPISTON JULKAISUJA – ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. B OSA - TOM. 468 | HUMANIORA | TURKU 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 1 20.12.2018 12.37 ,University of Turku Faculty of Humanities School of History, Culture and Arts Studies Cultural History Janus Hall January 12, 2019 12:00 Supervised by Hannu Salmi, Ph.D. Marjo Kaartinen, Ph.D. Academy Professor Professor of Cultural History Professor of Cultural History Head of the School of History, University of Turku, Finland Culture and Arts Studies University of Turku, Finland Reviewed by Kimmo Laine, Ph.D. Jukka Kortti, Ph.D. Docent Docent Cinema Studies Department of Political and University of Oulu, Finland Economic Studies University of Helsinki, Finland Opponent Kimmo Laine, Ph.D. Docent Cinema Studies University of Oulu, Finland The originality of this publication has been checked in accordance with the University of Turku quality assurance system using the Turnitin Originali- tyCheck service. ISBN 978-951-29-7536-5 (PRINT) ISBN 978-951-29-7537-2 (PDF) ISSN 0082-6987 (Print) ISSN 2343-3191 (Online) Grano Oy - Turku, Finland 2018 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 2 20.12.2018 12.37 To Seppo, Eliel and Rodrigo (+) 30971293_Thesis_book_Bolivia_Erazo_Humanistinen_tdk_sisus_20_12_2018_2.indd 3 20.12.2018 12.37 4 Acknowledgements There are many people I would like to thank but there is not enough space to do it in just one page, that is why I would like to send a warm general thanks to everyone who has contributed time to my research. -
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Curatorial Note: The art of film-making has always borrowed from the art of photography and vice-versa to tell stories about people, cultures, times. This creative confluence of film and photography has contributed some of the best works of art in our times. The five films selected for the month of February are unique pieces of art in their own sense, hailing from various countries, cultures and historic times. The selection ranges from the era of silent films from as early as 1928 (The Cameraman), to a collaborative film as a response to Lumiere brothers’ films- one of the earliest filmmakers in the history-to films with some brilliant visual and audio effects like City of Gods. Films like 5 Broken Cameras and My Camera and Tsunami tell very fascinating encounters of the film makers who in the journey of capturing moving images and sounds, encounter displacement/damage of their cameras. But the film still goes on, to tell the story of the broken/displaced cameras. Overall, these five films reflect the fascinating exchange of film-making, photography, storytelling and the journey of the film-maker through changing times. On 14th Feb 2017: The Cameraman/ Edward Sedgwick Buster Keaton / 1928 / 67 min The Cameraman is a 1928 American silent comedy directed by Edward Sedgwick and an uncredited Buster Keaton. The picture stars Buster Keaton, Marceline Day, Harold Goodwin, and others. The Cameraman was Keaton's first film with Metro-Goldwyn-Mayer. It is considered by fans and critics to be Keaton still in top form, and it was added to the National Film Registry in 2005 as being deemed "culturally, historically, or aesthetically significant." On 15th Feb 2017: Lumière and Company / Several Directors/ 1995 / 135 min Directors: forty-one international film directors including David Lynch, Abbas Kiarostami, Theo Angelopoulos, Wim Wenders To commemorate the 100th anniversary of Auguste and Louis Lumiere's first moving film, Romane Bohringer sought out fellow filmmakers, requesting that they shoot short movies on cameras similar to the one used by the French brothers. -
+ Vimeo Link for ALL of Bruce Jackson's and Diane Christian's Film
Virtual February 2, 2021 (42:1) Buster Keaton and Clyde Bruckman: THE GENERAL (1927, 72 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The General Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 National Film Preservation Board, USA 1989 Directed by Buster Keaton, Clyde Bruckman, Written by Buster Keaton, Clyde Bruckman, (written by), Al Boasberg, Charles Henry Smith (adapted by), William Pittenger (book, memoir "The Great BUSTER KEATON (b. Joseph Frank Keaton VI on Locomotive Chase") (uncredited) and Paul Girard October 4, 1895 in Piqua, Kansas—d. February 1, Smith (uncredited) 1966 in Los Angeles, CA) was born in a boarding Produced Buster Keaton, Joseph M. Schenck house where his parents, Joseph Hallie Keaton and Music Joe Hisaishi Myra Cutler Keaton, were touring with a medicine Cinematography Bert Haines, Devereaux Jennings show. He made his debut at the age of nine months Film Editing Buster Keaton, Sherman Kell when he crawled out of the dressing room onto the Art Direction Fred Gabourie stage, and he became part of the act when he was three. The young Keaton got his nickname within the Cast first two years of his life when he fell down a flight of Buster Keaton…Johnnie Gray stairs and landed unhurt and unfazed. -
Sherlock Jr Published Version with Pics
CORE Metadata, citation and similar papers at core.ac.uk Provided by Explore Bristol Research Rose, P. (2018). "He floats from the operating booth...": the tale not told of 'Sherlock Jr.'. The Keaton Chronicle, 25(3), 1-6. Peer reviewed version License (if available): Unspecified Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/pure/about/ebr-terms "He floats from the operating booth...": the tale not told of Sherlock Jr. By Polly Rose Buster Keaton striding right up into the cinema screen - and being punched right out again - is among the most iconic scenes in moving pictures. But did it always happen that way? There’s an intriguing phrase in the Los Angeles Times review of Sherlock Jr., dated May 11 1924, during its first run at Tally's Theater: "As a motion-picture operator in the making he upsets every technical calculation and floats from the operating booth to the screen where he continues his comedy work." [my italics] That’s not Sherlock Jr. as we know it - it sounds more like science fiction. Was Tally’s showing an earlier print of the film, a version from before the dream sequence was added to start the “film within a film”? Or could the journalist have been remembering an earlier preview? I set out to chart the film’s developing storyline and discover whether that description of the Tally's screening was simply the result of an overtired journalist, or a clue to a previously undiscovered alternate version of the film.