Buc-Cal Length in Mine

Total Page:16

File Type:pdf, Size:1020Kb

Buc-Cal Length in Mine Buc-Cal Length In Mine. InYn- BUCKAROO SHERIFF OF TEXAS 60 BUT NOT FOR ME (VV) 108 REPUBLIC (RI May 1,1951.MichaelChapin, PARAMOUNT. (RIOctober,1959.Clark Gable, &Ilene Janssen Carroll Baker. BUCKET OF BLOOD, THE WI BUTTERFIELD 8(Cs) 109 AMERICAN INTERNATIONAL (B) October METRO-GOLDWYN-STAYER. (RI November, 1959 Dick MillerBarboura Morris. 1960 Elizabeth Taylor,Laurence Harvey. Color BUCKSKIN LADY. THE 88 BWANA DEVIL(3D) 79 UNITED ARTISTS (RI June, 1957. Patricia Me- UNITED ARTISTS. (RI March 13,1953. Robert dinaRichard Denning. Stack Barbera BrittonColor BUFFALO BILL 90 BY THE LIGHT OF THE SILVERY MOON 102 TWENTIETH CENTURY -FOX (51April, 1944 WARNER BROTHERS (111 May 2,1953 Doyle Maureen O'HaraJoel McCreaColor DUN Gordon MacRae.Color. BUFFALO BILL IN TOMAHAWK TERRITORY 68 BY LOVE POSSESSED 115 UNITED ARTISTSIR) February 8, 195E. Clayton UNITED ARTISTS. (R) July. 1981. Lana Matte SlimAndrews Turner.Etre°,Zimballst.Jr.Color. BUFFALO BILL RIDES AGAIN 70 BYE BYE BIRDIE (P) 112 SCREEN GUILD IRI February 15. 1947.Richard COLUMBIA. (RI June, 19113 Janettel Dick ArlenJennifer Holt. Van Dyke. Color. BURGLAR. THE 90 COLUMBIA (RIJune,1957. Dan Durrett. Jaime Mnstleld C BUGLES IN THE AFTERNOON 85 WARNER BROS (RI March 8, 1952, RaYIland. CABINET OF CALIGARI. THE (Cs) 95 Helens CarterColor TWENTIETH CENTURY -FOX(R)June,1962 BULLDOG DRUMMOND AT BAY 70 Glynis Johns. Dan O'Herllhy. COLUMBIA IR)May 15 1947.RonRandall, C -M AN 71 Anita Louise FILM CLASSICS. (RI May, 1949. Dean Jagger. BULLDOG DRUMMOND STRIKES BACK 65 John Carradine. Color. COLUMBIA (RISeptember4. 1947.Rnn Ran- CADDY. THE 95 dall Pat0' Moor. PARAMOUNT. (R)September,1953.Martin & BULLETT FOR A BADMAN 80 Lewis Donna Reed. UNIVERSAL(It)October,1964. Audie Murphy, CAESAR AND CLEOPATRA (Brit.) 126 Darren McGavin. Color. UNITED ARTISTS August 16, 1946. Claude BULLII FOR /0E0, A 88 Rains. Vivian Leigh. Color. UNITED ARTISTS(R) April, 1955. Edward G Robinson GeorgeRaft. CAGED N WARNER BROS(RIJune 10, 1950. Eleanor BULLET IS WAITING. A 82 Parker.Agnes Moorehead. IRi September, 1954. Jean Simmons, COLUMBIA CAGED FURY go Rory Calhoun Color PARAMOUNT. (R) March 5,1948. Richard Den- BULLFIGHT narr.) 78 ningSheila Ryan. JANUS1111 July 1956Documentary. CAGE OFEVIL 70 BULLFIGHTER AND THE LADY. THE 87 UNITED ARTISTS.(R)July. 1980. Ronald REPT"RLIC (RIMay15, 1951.RobertStack, Foster PatBlair. Gilbert Roland CAINE MUTINY. THE 128 BULLFIGHTERS. THE 60 COLUMBIA September, 1954. Humphrey TWENTIETH CENTURY -FOX.(RI May,1995 Bogart, Van Johnson.JoseFerrer.Color. Laurel and Hardy CAIRO 91 BULLWHIP Ms) 80 METRO-GOLDWYN-MAYER. (R) January,1983. ALLIED ARTISTS (RI May 25, 1958. Guy Madi- George Sanders. Richard Johnson. sonRhonda Fleming. Color. CALAMITY JANE 101 BUNCO SQUAD 67 WARNER BROTHERS. (R( November 14,1953 IIKO RADIO (RI September1. 1950.Robert Color. SterlingJoan Dixon. Doris Day. Howard Reel . 85 98 CALAMITY JANE ANO SAM BASS ...... BUNDLE OF JOY UNIVERSAL(RIJuly1949.Yvonne De collo. UNIVERSAL(R) December, 1958. Debbie Reff- Howard Duff. Color. noldsEddie Fisher. Color. CALCUTTA S9 BUNGALOW 13 85 PARAMOUNT. (R) May 90, 1947.Alan Ladd, TWENTIETH CENTURY -FOX. TO November, William Floridly 194P Torn ConwayMargaret Hamilton. CALENDAR GIRL 111 BUNNY LAKE IS MISSING 107 REPUBLIC. (RI January 51, 1947.Jane Frazee, COLI'MBIA. IR) October, 1965. Laurence Olivier, WilliamMarshall. Carol Lynley. CALIFORNIA BURMA VICTORY 62 PARAMOUNT. (RI February H. 1947. Ray MIL WARNER BROS.(RIFebruary16,1946. War bad Barbara Stanwyck. Color. Documental, CALIFORNIA CONQUEST 79 BURNING CROSS. THE 78 COLUMBIA. (R1 July, 1952. Cornel Wilde. Teresa SCREEN GUILD IR)October 11,1947.Hank Wright. Color. Daniels Virginia Patton. 92 CALIFORNIA FIREBRAND N B URNING HILLS. THE (Cs) REPUBLIC (RI April 1. 1948.MonteHale. WARNER BROTHERStEl September1,1956 Adrian BoothColor NatIle WoodTah Hunter. Color. CALIFORNIA GOLD RUSH N BURN WITCH. BURN 90 REPUBLIC. IEG February 4.1946. "Wild" Bill AMERICAN INTERNATIONAL (R) April, 1982 Alice Fleming Jane' Blair. Peter Wyngarde. Elliott CALIFORNIA PASSAGE BURY ME DEAD 71 REPUBLIC. (RI December 15. 1050. Fewest EAGLE 1.10N(RI October 16.1947. Mark Dan- TWA!, (We Man. lelv .TuneLockhart CALL ME BWANA ISO BUS RILEY's BACKIN TOWN 93 UNITED A !IT ISTS.(B) June,1963. Bob Hope, UNIVERSAL IR)April, 1965.Ann -Margaret, Anita Ekberg Color. Nlicimel Parks. Color CALL ME MADAM 1(4 BUS STOP (Cs). 94 TWENTIETH CENTURY -FOX(RIApril.1953. TWENTIETH CENTURY FOX. (R) August. Ethel Merman, Donald O'Connor. Color. 1956 Marilyn MonroeDon Murray. Color. CALL ME MISTER 96 BUSH CHRISTMAS (Australian) 78 TWENTIETH CENTURY - FOX. (R) February. UNIVERSAL tilt Docember, 1947,ChipsRaf- 1951 Betty Grable, Dan Dailey. Color. fertyHelen Grieve. CALL NORTHSIDE 777 III BUSH PILOT 60 TWF: NT I ET 41 CENTURY - FOX. (R) February, Sr EEN GUILD (R)June7,1947. Rochelle 1948 James Stewart. Helen Walker. LaRue. Hudson. Jerk CALL OF THE FOREST 74 B USHWHACKERS. THE 7$ LIPPERT IR) November 15. 1949. Robert Lowery, REALART ill)November, 1951.JohnIreland, Dorothy Malone Ken Curtis BUSTER KEATON STORY, THE (VV) 97 CALL OF THE JUNGLE 60 PARAMOUNT. (B) May, 1957. Donald O'Connor, MONOGRAM. (RI August 19,1944. Ann 002114 Ana Myth. JamasBush. 348.
Recommended publications
  • Elizabeth Taylor: Screen Goddess
    PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred.
    [Show full text]
  • Christopher Plummer
    Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz,
    [Show full text]
  • The Creative Process
    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
    [Show full text]
  • The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
    The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968.
    [Show full text]
  • JUNE 4-19 in the PARK WED, THURS, FRI, & SAT @ 7:30 PM Levitt Pavilion
    28TH ANNUAL FREE SHAKESPEARE JUNE 4-19 IN THE PARK WED, THURS, FRI, & SAT @ 7:30 PM levitt pavilion . reservoir park gamuttheatre.org (717)238-4111 Gamut® Theatre Group’s mission is to tell classic stories in new and exciting ways. Our vision is a world where all people cherish classic stories and share them with future generations. Each year Gamut presents approximately 250 performances to 30,000 people. Moreover, 20,000 students per year enjoy our theatre school classes, workshops, residencies, and shows. Since our inception in 1993, Gamut has cumulatively reached over 650,000 children and adults through our touring and educational programs. We have been recognized by the press and the public for the quality of our productions, the breadth of our programs, our reach into all segments of the community, and our ability to keep classic stories relevant and alive. Gamut Theatre is an Educational Improvement Organization as approved by the PA DCED and is an approved Arts in Education Roster Artist through the PA Council on the Arts. ANTI-RACISM & GAMUT THEATRE Gamut Theatre tells classic stories because we’ve found that even if a story was written hundreds of years ago, it can still resonate, still feel immediate and urgent. And here we are, as a nation and a world, watching the oldest story of all - systemic, institutionalized racism - laid bare before us, once again. Gamut strives to foster an inclusive environment for everyone who walks through our doors: our audiences, our students and their families, the staff and artists who work with us.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • To Academy Oral Histories Marvin J. Levy
    Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410
    [Show full text]
  • University International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Reds Die in Biggest U.S. Battle ' SAIGON (AP) — U.S
    ' t r DUtatirattm • ' & ' ~- • Register, Inc., ISM. 1 DIAL 7414)010 MONMOUTB COUNTY 3 HOME NEWSPAPER FOR 88 YEARS FMUn FRIDAY, NOVEMBER 11, J966 7C PER COPY PAGE ONE $8 •; ga OHICM. Reds Die in Biggest U.S. Battle ' SAIGON (AP) — U.S. com- tion, named Attleboro, Is "the the ground forces with attacks on provincial capital of Chuong The resignations raised no im- In the southern panhandle and nounced. In a periodic summary mandtri sent another brigade of target-US. action" of the Viet Viet Cong base camps today for TJiien, 102 miles southwest of mediate threat to Ky's govern- the Hanoi and Haiphong areas. of American air losses, he said 4,000 men to die Tay Ninh front Nam War. the second straight day. The Saigon. ment. Ky and the other generals An Air Force A1E Skyraidex four U.S. helicopters have been today ti the reported enemy toll «ight-engtne Stratoforts dropped On the political front, Premier of the junta hold the power, and was shot down by Communist downed over the North during '' U.S: ground ' forces reported their bombs 23 miles northeast the civilians in the cabinet have the war, while U.S. losses In In just over a week of fighting filing 20 Viet Cong in new fight- Nguyen Cao Ky announced that ground fire over North Viet Nam rote to 900 dead: of Tay Ninh City. two more cabinet ministers were a mostly advisory role. today. The pilot of the propeller- South Viet Nam "no total' 133 " ing and' finding 15 more bodies 81 Bombing MlMioas planes, and 215 helicopters.
    [Show full text]
  • Daniel Mann Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8fb549k No online items Daniel Mann papers Special Collections Margaret Herrick Library© 2013 Daniel Mann papers 209 1 Descriptive Summary Title: Daniel Mann papers Date (inclusive): 1919-1992 Date (bulk): 1945-1985 Collection number: 209 Creator: Mann, Daniel Extent: 18 linear feet of papers.2 linear feet of photographs. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Daniel Mann papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Erica Mann Ramis, Michael Mann, and Alex Mann, 1996 Biography Daniel Mann was an American director active in film from 1952 to 1978. Mann arrived in Hollywood in the early 1950s. His directing credits include COME BACK, LITTLE SHEBA (1952), THE ROSE TATTOO (1955), and BUTTERFIELD 8 (1960). Collection Scope and Content Summary The Daniel Mann papers span the years 1919-1992 (bulk 1945-1985) and encompass 20 linear feet. The collection consists of production files, scripts, and film-related correspondence for some 20 of Mann's films. There are also clippings, casting requests from actors, teaching projects, and fan mail from around the world. The photograph series consists of 1,798 items, and contains primarily scenes and off- camera photographs from films directed by Mann.
    [Show full text]
  • Scaurs. Car W - - Caro O and Newcomers
    Sunday, April 7, 1968 3 rm JO- 11- (&ett scaurs. car W - - caro o and newcomers. Two hoped-fo- r 0 Bv HAUVEY 0 To Eternity years ago, appearance, the ELLIOTT True. For the past seven something extra is added for From Here their of The who had Dally Tar Heel Staff or eight years, nominees have Oscar's 40th birthday. Last On The Waterfront. Other ever heard of Faye presenters of the awards are It's Oscartime again! year, a segment spotlighting Oscar-winne- rs shown will be: Runaway, Michael J. Pollard, culled from all areas of been almost exclusively Dustin After months of arguing British. Filmgoers were begin- the Oscar-winne- rs for Best Audrey Hepburn in Roman Hoffman, or Katharine Hollywood stardom. Some of whether Ross? And who Hollywood's brightest lights The Graduate was a ning to wonder if the American Song throughout the years was Holiday would ever I-- V t V suspect Oscar-winni- ng well-receive- The better film that Bonnie d. year, the Humphrey Bogard in that will be giving out Oscars this and film industry had any future. This performances r Clyde, wondering where five This year, however, the entire history of the Awards African Queen could ever be year. Best Song Ingred Bergman in Anas-tas- ia brought out of pretty-bo-y War- Wood whatever nominees were tables are turned. Only three is reviewed, using film clips r . ren Natalie - . going actor-nomine- Beatty or George to come from try to out of 20 es from 33 Oscar winners.
    [Show full text]
  • SCRAPBOOK of MOVIE STARS from the SILENT FILM and Early TALKIES Era
    CINEMA Sanctuary Books 790 - Madison Ave - Suite 604 212 -861- 1055 New York, NY 10065 [email protected] Open by appointment www.sanctuaryrarebooks.com Featured Items THE FIRST 75 ISSUES OF FILM CULTURE Mekas, Jonas (ed.). Film Culture. [The First 75 Issues, A Near Complete Run of "Film Culture" Magazine, 1955-1985.] Mekas has been called “the Godfather of American avant-garde cinema.” He founded Film Culture with his brother, Adolfas Mekas, and covered therein a bastion of avant-garde and experimental cinema. The much acclaimed, and justly famous, journal features contributions from Rudolf Arnheim, Peter Bogdanovich, Stan Brakhage, Arlene Croce, Manny Farber, David Ehrenstein, John Fles, DeeDee Halleck, Gerard Malanga, Gregory Markopoulos, Annette Michelson, Hans Richter, Andrew Sarris, Parker Tyler, Andy Warhol, Orson Welles, and many more. The first 75 issues are collected here. Published from 1955-1985 in a range of sizes and designs, our volumes are all in very good to fine condition. Many notable issues, among them, those designed by Lithuanian Fluxus artist, George Macunias. $6,000 SCRAPBOOK of MOVIE STARS from the SILENT FILM and early TALKIES era. Staple-bound heavy cardstock wraps with tipped on photo- illustration of Mae McAvoy, with her name handwritten beneath; pp. 28, each with tipped-on and hand-labeled film stills and photographic images of celebrities, most with tissue guards. Front cover a bit sunned, lightly chipped along the edges; internally bright and clean, remarkably tidy in its layout and preservation. A collection of 110 images of actors from the silent film and early talkies era, including Inga Tidblad, Mona Martensson, Corinne Griffith, Milton Sills, Norma Talmadge, Colleen Moore, Charlie Chaplin, Lillian Gish, and many more.
    [Show full text]