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The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
I'kaai Party Where the Two Families Meet "Ft "Copsand CONSULT OUR LISTINGS for LAST MINUTE Tv Coiwuum Mc
14-T- HE CAROLINA TIMES SAT., JULY 28, 1979 ; REFLECTIONS SWORD OF JUSTICE The n 0 - CJ BASEBALL Atlanta Braveava . woundedJackColerelleeonHec- Houston Astros tor to finish the lob of proving that O WILD KINGDOM a corrupt police commissioner w: 7:00 and the mob that 'owns' him were THIEVES LIKE US for of an N FOOTBALL responsible the slaying O 60 Tampa Bay Buccaneers va Wa- honest cop. (Repeat; mina.) A backwoods MOVIE -- fugitive and young, shington Redskins HBO (SUSPENSE) girl fall in love in Mississippi during MASTERPIECE THEATRE 'I. "Capricorn One" Elliott Gould, O Karen Black. A stumbles the Depression, in 'Thieves Like Claudius' 'Reign of Terror' Tiber- reporter Us,' directed by Robert Altman ius' haathe onto the acoop of the century-man'- s palace guard emperor to Mars and Keith Carradine (pic- cut off from the outside first space flight starring totally 15 tured) and Shelley Ouvall, premier-in- g world - at Sejanus' order. So how wasahoaxl(RatedPG)(2hra., on television Aug. 4, on 'The can Antonia possibly warn mins.) CBS 10:30 Saturday Night Movies.' RESURRECTION mins.) O GOSPEL Based on the Edward Anderson GD BLACK REFLECTIONS novel that also inspired the earlier N FOOTBALL SOAP FACTORY 11:00 'They Live By Night,' the movie 8 tells the love of Bowie n LAWRENCE WELK SHOW OOOOnews tragic story CJ HEE HAW Conway Twltty. gd odd couple who has HIGH (Carradine), escaped Dave and Sugar, Grandpa, CI 12 O'CLOCK from a prison work farm, and Ramona and Aliaa Jones. (60 CJ SECOND CITY TV Keechie (Miss Duvall), the mins.) V 11:15 uneducated young innocent he CJ M SEARCH OF OO ABC NEWS meets. -
Guide to the Smothers Brothers Collection
Guide to the Smothers Brothers Collection NMAH.AC.1437 Vanessa Broussard-Simmons Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: Photographic Materials, 1961-2007, undated........................................... 4 Series 2: Business Records, 1959-2002, undated................................................. 16 Series 3: Personal Papers, 1966-2008, undated................................................... 25 Smothers Brothers Collection NMAH.AC.1437 Collection Overview Repository: Archives Center, National Museum of American History Title: Smothers Brothers Collection Identifier: NMAH.AC.1437 Date: 1959-2008, undated Creator: Smothers -
The Webfooter
September 2016 Remembering the Wild, Wild Westerns Remembering the Wild, Wild Westerns – see page 2. Webfooters Post Card Club PO Box 17240 Portland OR 97217-0240 www.thewebfooters.com Remembering the Wild, Wild Westerns Before Batman, before Star Trek and space travel to the moon, Westerns ruled prime time television. Warner Brothers stable of Western stars included (l to r) Will Hutchins – Sugarfoot, Peter Brown – Deputy Johnny McKay in Lawman, Jack Kelly – Bart Maverick, Ty Hardin – Bronco, James Garner – Bret Maverick, Wade Preston – Colt .45, and John Russell – Marshal Dan Troupe in Lawman, circa 1958. Westerns became popular in the early years of television, in the era before television signals were broadcast in color. During the years from 1959 to 1961, thirty-two different Westerns aired in prime time. The television stars that we saw every night were larger than life. In addition to the many western movie stars, many of our heroes and role models were the western television actors like John Russell and Peter Brown of Lawman, Clint Walker on Cheyenne, James Garner on Maverick, James Drury as the Virginian, Chuck Connors as the Rifleman and Steve McQueen of Wanted: Dead or Alive, and the list goes on. Western movies that became popular in the 1940s recalled life in the West in the latter half of the 19th century. They added generous doses of humor and musical fun. As western dramas on radio and television developed, some of them incorporated a combination of cowboy and hillbilly shtick in many western movies and later in TV shows like Gunsmoke. -
Hollywood Theology: the Commodification of Religion in Twentieth-Century Films Author(S): Jeffery A
Center for the Study of Religion and American Culture Hollywood Theology: The Commodification of Religion in Twentieth-Century Films Author(s): Jeffery A. Smith Reviewed work(s): Source: Religion and American Culture: A Journal of Interpretation, Vol. 11, No. 2 (Summer 2001), pp. 191-231 Published by: University of California Press on behalf of the Center for the Study of Religion and American Culture Stable URL: http://www.jstor.org/stable/10.1525/rac.2001.11.2.191 . Accessed: 29/01/2013 11:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Center for the Study of Religion and American Culture are collaborating with JSTOR to digitize, preserve and extend access to Religion and American Culture: A Journal of Interpretation. http://www.jstor.org This content downloaded on Tue, 29 Jan 2013 11:41:14 AM All use subject to JSTOR Terms and Conditions Hollywood Theology: The Commodication of Religion in Twentieth-Century Films Jeffery A. Smith A motion picture is a product formed by the intricate inter- play of lm industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratication or, perhaps, edication. -
The Big Goodbye
Robert Towne, Edward Taylor, Jack Nicholson. Los Angeles, mid- 1950s. Begin Reading Table of Contents About the Author Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on the author, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Lynne Littman and Brandon Millan We still have dreams, but we know now that most of them will come to nothing. And we also most fortunately know that it really doesn’t matter. —Raymond Chandler, letter to Charles Morton, October 9, 1950 Introduction: First Goodbyes Jack Nicholson, a boy, could never forget sitting at the bar with John J. Nicholson, Jack’s namesake and maybe even his father, a soft little dapper Irishman in glasses. He kept neatly combed what was left of his red hair and had long ago separated from Jack’s mother, their high school romance gone the way of any available drink. They told Jack that John had once been a great ballplayer and that he decorated store windows, all five Steinbachs in Asbury Park, though the only place Jack ever saw this man was in the bar, day-drinking apricot brandy and Hennessy, shot after shot, quietly waiting for the mercy to kick in. -
Mattaponi Sundowners Match
Mattaponi Sundowners Match July 15, 2018 By: Major BS Walker “ Clint Walker “ Clint Walker was born Norman Eugene Walker on May 30, 1927 in Hartford, Illinois. He had a twin sister named Lucy. He left school to work at a factory and on a Riverboat. He later joined the Merchant Marines at 17 in the last few months of World War 2. After leaving the Merchant Marines he also worked as a doorman at the Sands Hotel, a Sheet Metal worker and a bouncer at a Night Club. His first acting role was in a Bowery Boys film called Jungle Gents where he played a Tarzan type character and then he was cast in the movie The Ten Commandments, both under the name of Jett Norman. With his handsome looks at 6’-6” tall with a 48” chest and a 32” waist, Warner Brothers announced in June of 1955 that now Clint Walker would be cast as Cheyenne Bodie in their new series Cheyenne. Cheyenne ran from 1955 until 1963. Not known as a singing cowboy his pleasant baritone voice was used throughout the filming of Cheyenne and later Warner Brothers produced an album. Clint Walker was featured in several films with modest returns with his best known being” Yellowstone Kelly”. He later appeared in more than 40 films including The Dirty Dozen and made appearances on television shows too numerous to mention. In 2004 he was inducted into the Hall of Great Western Performers and has a star on the Hollywood Walk of Fame. Clint Walker died of congestive heart failure in Grass Valley, CA. -
Top U.S. General to Evaluate Iran
PAGE TWENTY - MANCHESTER EVENING HERALD. Maiuhoster. Conn.. Fri.. Jan. 5. 1979 Economic Focus of 1978 Remained on J.C. Penney r— i The ongoing construction of the Work at K-Mart is under way and for about 100 at its high point. It was Tobacco crops gave way to bricks of whether you would be able to buy a Street was being converted to J.C. Penney warehouse with its opening is expected in July. In beset with troubles, however, and a and mortar in the flat land in the drink at a Manchester tavern on Sun professional offices for a group of Oil Firms Sued Scholastic potential for the future contined to China Wants UN I I Skywalk Bonds ^ general, merchants around town, in .vear's end only 35 were still drawing northwest of town and in November day. The town lifted its ban op Sun doctors who had purchased the On Overcharges dominate the economic news of cluding those along Main Street said paychecks through CETA. it was announced that most of the day liquor sale beginning Dec. 31. building. To Help Cambodia I Sports Roundup 1 Run Into Protest ^ Manchester in 1978. the Christmas season was good to The news of business personnel remaining tobacco land will be Tavern owners are among those per Page 6 What was once the home of a Page 10 Toward the end of the year, the them, indicating that area residents that appeared through the year in leased out for vegetable growing. mitted to serve liquor on Sunday. It market at the Parkade and later the Page 6 1 1 Page 3 threat or promise, depending on have some funds for discretionary dicated an increase in the staffs of Manchester residents began the appears the Board of Directors site for Treasure City, became the point of view, of the Buckland Com spending. -
The American Indian in the American Film
THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed. -
To Download The
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Rick Ludwin Collection Page 1
Rick Ludwin Collection Page 1 Rick Ludwin Collection OVERVIEW OF THE COLLECTION Creator: Rick Ludwin, Executive Vice President for Late-night and Primetime Series, NBC Entertainment and Miami University alumnus Media: Magnetic media, magazines, news articles, program scripts, camera-ready advertising artwork, promotional materials, newsletters, correspondence and realia Date Range: 1937-2011 Quantity: 9.0 linear feet Location: Manuscript shelving COLLECTION SUMMARY The majority of the Rick Ludwin Collection focuses primarily on NBC TV primetime and late- night programming beginning in the 1980s through the 1990s, with several items from more recent years, as well as a subseries devoted to The Mike Douglas Show, from the late 1970s. Items in the collection include: magnetic and vinyl media, containing NBC broadcast programs and “FOR YOUR CONSIDERATION” awards compilations program scripts, treatments, and rehearsal schedules industry publications national news clippings awards program catalogs network communications, and camera-ready advertising copy Included in the collection are historical narratives of broadcast radio and television and the history of NBC, including various mergers and acquisitions over the years. 10/9/2013 Rick Ludwin Collection Page 2 Other special interests highlighted by this collection include: Bob Hope Johnny Carson Jay Leno Conan O’Brien Disney Motown The Emmy Awards Seinfeld Saturday Night Live SNL. Carson Daly The Mike Douglas Show Kennedy & Co. AM America Fifteen original Seinfeld table scripts are included; most of which were working copies, reflecting the use of multi-colored pages to call out draft revisions. Other scripts are also contained here--some for primetime, some for broadcast specials such as the landmark three- hour broadcast of SNL’S 25th Anniversary. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 (Revised) 5 Rare Interior Photos of The International Theater added on page 64 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room.