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31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
The Godless Girl 1928
Cecil B. De Mille’s THE GODLESS GIRL 1928 CAST Judy: Lina Basquette Mame: Marie Prevost Bob: George Duryea The Head Guard: Noah Beery The "Goat": Eddie Quillan The Victim: Mary Jane Irving Matrons: Hedwig Reicher Kate Price CREW Production: Cecil B. De Mille Titles: Beulah Marie Dix Jeanie Macpherson Cinematography: Peverell Marley Film Editing: Anne Bauchens Art Direction: Mitchell Leisen Costume Design: Adrian Assistant Directors: Curt Rehfeld Frank Urson Art Department: Roy Burns Additional Photographers: Franklin McBride Fred Westerberg Black and white print with tinted sequence. Restored from De Mille’s personal nitrate print by George Eastman House. Duration: 118 minutes plus interval Projection Speed: 24fps Aperture: Full Music: (32 Players) Carl Davis LIVE CINEMA THE GODLESS GIRL Few filmmakers have been better known to the public than Cecil B De Mille. One of the founders of Hollywood, he remained a leader of the industry for more than forty years. It was his name, even more than those of his stars, which guaranteed the public would flock to each new offering and made him the most successful di- rector in Hollywood history. De Mille’s name conjures images of Moses parting the Red Sea or Samson top- pling a temple. Yet there was much more to De Mille than these familiar biblical epics. Of the 70 films he directed, the majority were made before the coming of sound and they reveal a vastly different filmmaker. Confidently developing alongside his young art, he is willing to tackle social problems, examine sexual re- lations with a modern eye and never scared to reveal the darker aspects of hu- man nature. -
D.W. Griffith, the Keystone Kops and the Canadian Connection by Wyndham Wise
D.W. Griffith, the Keystone Kops and the Canadian Connection By Wyndham Wise In his fulsome introduction in Maclean's as' (September 2003) to an excerpt from Kay Armatage's revisionist biography of the Victoria—born Nell Shipman, The Girl from God's Country: Nell Shipman and the Silent Cinema, crit- ic Brian D. Johnson claimed Shipman to be "Canada's first movie star." Johnson was not entirely accurate, however. Shipman was only a bit player in the history of Hollywood, never more than a starlet. Ten years prior to her appearence in Back to God's Country, which was released in 1919, no less than three actresses could lay claim to the title of the first Canadian movie star, and, remark- ably, they all appeared in films by D.W. Griffith, the legendary father of cinema, at the Biograph studios between 1908 and 1912. Biograph is the abbreviated name commonly used for the American Mutoscope and Biograph Company. It developed into one of the most active forces in the early years of American cinema and its studios at 11 East 14th Street in New York City were the spawn- ing ground for such formative talents as Griffith's stock company of players at Biograph included three Canadian leading ladies: Florence Lawrence, Florence LaBadie and Mary Pickford. Griffith and Mack Sennett. An itinerant actor and fledgling playwright, Griffith joined Biograph in early 1908, first as a writer and then as an actor. Later that same year, he directed his first film, The Adventures of Dollie. Over the next 18 months (from June 1908 to December 1909), Griffith personally directed all of the Biograph pictures, an incredible 200 TAKE ONE 37 Florence Lawrence Picture Company of America at the end of 1909. -
Torichb COLUMBIA I Place HARPY PAPF PRODUCTION
"What did the old boy expect'.'" at »' »>ueli ]>«. udo-pUiloeophic. soapy platl-, -audio use. Its wattage is 1.200 times Schenectady. It la claimed the light Rich Load of 'LA TE Y events expresses Its mood. Nor is tl> \rnolcL as tudos. It becomes more evident as he larger than the average household lamp, from them la the nearest to sunlight yet TENDRESSE; DELICA PLA young woman, who has at least tv Daly in revealed plotting to abduct the The electric power to operate three such achieved artificially. children to help her to understand ho wealthy girl over whom he has obtained <arr\pa would run a trolley car. The showing of this lamp la but or: Native Fun in OF FRENCH OPENS EMPIRE to behave herself, a possible subject t°< Swami in a hypnotic control, and to throw the The bulb is 12 Inches in diameter and of the many featuree of the convention. LIFE, on 18 sympathy. She was having a good tim Play blame tor a Jewel robbery her young V4 Inches high. The lamp produces Under the direction of Charles I.* Edgar, The grass was not growing under h< lover, who was an electrical engineer light equal to that from 2,400 electric! president of the Boston Edison Com - 'Spite Corner' feet whtlo tlio dramatist was away ut iOn ihe Stairs' and skeptical of anything ho couldn't lamps of the else commonly used In the pany, the General Electric Company ha i Henry Miller and Miss Cliat- veiling monuments of hjs colleague test with a monkey wrench. -
Melodrama As Vernacular Modernism in China: the Case of D
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Melodrama as Vernacular Modernism in China: The Case of D. W. Griffith Qijun Han, Utrecht University In an article on the pitfalls of cross-cultural analysis, film scholar Emilie Yueh-yu Yeh has proposed replacing the term “melodrama” with “wenyi,” as it can “locate an intrinsic and perhaps more illuminating concept than melodrama to explain Chinese-language cinemas” (Yeh, 2009: 438). In Yeh’s view: Wenyi and melodrama are literally discordant: letters and arts (wenyi) vs. musical theatre (melo-drama). One emphasizes literary value and artistic taste; popular fiction that aspires to serious literature. The other offers the theatrical display and emotional excitement of the sort found in stage musicals (cf. Broadway, operetta, vaudeville). (Yeh, 2009: 445) Yeh is not the first to highlight the concept of wenyi. As early as 1985, Cai Guorong had already raised this issue. For him: Chinese wenyi melodrama developed along two lines: those works that deal with family relationships and ethics, and those that depict romances. […] First, films of this genre use contemporary or recent society as a backdrop; second, they deal with human emotions and are therefore lyrical to an extent. (Cai, 1985; in Zhang, 2012: 25) Yeh has convincingly shown how wenyi connects with and departs from melodrama, and in particular, her historical account of wenyi is a highly valuable tool in interpreting contemporary Chinese films. By proposing to substitute wenyi for melodrama, Yeh has pointed to a set of conceptual tensions underpinning the term melodrama, which is in turn relevant to several issues, such as translation and cultural identity in the aftermath of colonialism and imperialism. -
Lilms Perisllecl
Film History, Volume 9, pp. 5-22, 1997. Text copyrig ht © 1997 David Pierce. Design, etc. copyright© John libbey & Company. ISSN: 0892-2 160. Pri nted in Australia l'lle legion of file conclemnecl - wlly American silenf lilms perisllecl David Pierce f the approximately 1 0 ,000 feature print survives for most silent films, usually therewere films and countless short subjects re not many copies lo begin with . While newspapers leased in the United States before or magazines were printed and sold by the thou O 1928, only a small portion survive . sands, relatively few projection prints were re While so me classics existand are widelyavailable, quired for even the most popular silent films . In the many silent films survive only in reviews, stills, pos earliest days of the industry, producers sold prints, ters and the memories of the few remaining audi and measured success bythe number ofcopies sol d. ence members who saw them on their original By the feature period, beginning around 1914, release. 1 copies were leased lo subdistributors or rented lo Why did most silent films not survive the pas exhibitors, and the owners retained tight control. sage of time? The curren! widespread availability The distribution of silent features was based on a of many tilles on home video, and the popularity of staggered release system, with filmgoers paying silent film presentations with live orchestral accom more lo see a film early in its run. Films opened in paniment might give the impression that silent films downtown theatres, moved lo neighbourhood had always been held in such high regard . -
Dw Griffith: American Film Master
he Museum of Modern Art 3/8/65 Vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modemart PROGRAM D. W. GRIFFITH: AMERICAN FILM MASTER The films listed are all directed by Griffith, except where otherwise noted. PART. I \ April 25-28: 1907 RESCUE) FROM AN EAGSUB'S NEST, Edison, directed by Edwin S. Porter; with D. W. Griffith. 1909 THE LONELY VILLA, Biograph; with Mary Pickford, Marion Leonard. 1911 THE LONEDALE OPERATOR, Biograph; with Blanche Sweet, Wilfred Lucas• 1912 THE GIRL AND HER TRUST, Biograph; with Dorothy Bernard, Wilfred Lucas. 1913 OLAF - AN ATOM, Biograph; with Harry Carey (director unknown, but probably D. W. Griffith). Biograph films: April 29- 1909 A DRUNKARD'S REFORMATION, with Linda Arvidson, Arthur Johnson. May 1: 1909 A CORNER IN WHEAT, with Frank Powell, Henry Walthall. 1910 THE USURER, with Grace Henderson, George Nichols. 1911 THE MISER'S HEART, with Edward Dillon, Wilfred Lucas. 1912 THE MUSKETEERS OF PIG ALLEY, with Dorothy and Lillian Gish. May 2-5: 1912 MAN'S GENESIS, Biograph; with Mae Marsh, Robert Harron. 1913-lil- JUDITH OF BETHULIA, Biograph; with Blanche Sweet, Henry Walthall. May 6-8; 1911 ENOCH ARDEN, Biograph; with Linda Arvidson, Wilfred Lucas. 1911* HOME, SWEET HOME, Mutual; with Lillian Gish, Henry Walthall, Mae Marsh, Robert Harron, Blanche Sweet, Owen Moore. May 9-12: 1912 THE GODDESS OF SAGEBRUSH GULCH, Biograph; with Blanche Sweet, Dorothy Bernard, Charles West. 19114. THE AVENGING CONSCIENCE, Mutual; with Blanche Sweet, Henry Walthall, Spottiswoode Aiken. May I3-I5: 1915 THE BIRTH OF A NATION, Epoch; with Lillian Gish, Mae Marsh, Henry Walthall, Robert Harron, Elmer Clifton, Ralph Lewis. -
RUDOLPH VALENTINO January 1971
-,- -- - OF THE SON SHEIK . --· -- December 1970 -.. , (1926) starring • January 1971 RUDOLPH VALENTINO ... r w ith Vilma Banky, Agnes Ayres, George Fawcett, Kar l Dane • .. • • i 1--...- \1 0 -/1/, , <;1,,,,,/ u/ ~m 11, .. 12/IOJ,1/, 2/11.<. $41 !!X 'ifjl!/1/. , .....- ,,,1.-1' 1 .' ,, ,t / /11 , , . ... S',7.98 ,,20 /1/ ,. Jl',1,11. Ir 111, 2400-_t,' (, 7 //,s • $/1,!!.!!8 "World's .. , . largest selection of things to show" THE ~ EASTIN-PHELAN p, "" CORPORATION I ... .. See paee 7 for territ orial li m1la· 1;on·son Hal Roach Productions. DAVE PORT IOWA 52808 • £ CHAZY HOUSE (,_l928l_, SPOOK Sl'OO.FI:'\G <192 i ) Jean ( n ghf side of the t r acks) ,nvites t he Farina, Joe, Wheeze, and 1! 1 the Gang have a "Gang•: ( wrong side of the tr ack•) l o a party comedy here that 1\ ,deal for HallOWK'n being at her house. 6VI the Gang d~sn't know that a story of gr aveyard~ - c. nd a thriller-diller Papa has f tx cd the house for an April Fool's for all t ·me!t ~ Day party for his fr i ends. S 2~• ~·ar da,c 8rr,-- version, 400 -f eet on 2 • 810 303, Standord Smmt yers or J OO feet ? O 2 , v ozs • Reuulart, s11.9e, Sale reels, 14 ozs, Regularly S1 2 98 , Sale Pnce Sl0.99 , 6o 0 '11 Super 8 vrrs•OQ, dSO -fect,, 2-lb~ .• S l0.99 Regu a rly SlJ 98. Sale Pn ce I Sl2.99 425 -fect I :, Regularly" ~ - t S12 99 400lc0 t on 8 o 289 Standard 8mm ver<lon SO r Sate r eels lJ o,s-. -
Film Advertising Cards and Programs Collection Inventory
Film Advertising Cards and Programs Collection Inventory 1 box; 6 envelopes; 252 items; .125 metres Env. #1: Advertising Cards – 62 items 1. Roscoe Arbuckle (Fatty) / Temple Theatre, week of April 28, 1919 2. John Barrymore / Dundas Playhouse, week of July 21, 1919 3. Enid Bennet / Dundas Playhouse, week of May 12, 1919 4. Gladys Brockwell / Adanac Theatre, week of March 3, 1919 5. Billy Burke / Amusu Theatre, week of April 7, 1919 6. June Caprice / Adanac Theatre, April 14, 1919 7. Harry Carey / Duchess Theatre, week of May 12, 1919 8. Mrs. Vernon Castle (Irene) / Adanac Theatre, week of May 26, 1919 9. Barbara Castleton / Duchess Theatre, week of April 7, 1919 10. Lina Cavalieri / Playhouse Theatre, week of April 21, 1919 11. Charlie Chaplin / Dundas Playhouse, week of April 28, 1919 12. Ethel Clayton / Brighton & Parkview Theatres, wk of April 28, 1919 13. Dorothy Dalton / Dundas Playhouse, week of April 7, 1919 Dorothy Dalton / Queen’s Royal Theatre, week of March 4, 1918 14. Priscilla Dean / Brighton & Parkview Theatres, wk of April 28, 1919 15. June Elvidge / Duchess Theatre, week of March 24, 1919 16. Madge Evans / Dundas Playhouse, week of September 15, 1919 17. Douglas Fairbanks / Brighton Theatre, week of March 10, 1919 18. Dustin Farnum / Temple Theatre, week of April 21, 1919 19. William Farnum / Brighton & Parkview Theatres, week of April 7, 1919 Film Advertising Cards and Programs Collection Inventory Page 2 of 18 20. Geraldine Farrar / Brighton & Parkview Theatres, wk of May 26, 1919 Geraldine Farrar / Queen’s Royal Theatre, week of March 18, 1919 21. -
Brownsville 81 and B Valley B Theaters
Brownsville 81 and B Valley B Theaters * 1 I One Man Quartet In Good Ne ver STAGE HOME TO Film Experiment Business Can one man be a whole quar- tet? Has Left Valley, Says MORRIS FAMILY Lawrence Tibbett. celebrated baritone, who is co-starred with Former Kiwanis Head Grace Moore in “New Moon,” now Five Members Have All playing at the Mission Theatre, ac- complished such a feat during film- (By Staff Correspondent. > been invited to the meetin^to hear Been On Stage ing of the new Metro-Ooldwyn- HARLINGEN, Feb 7.- Good their former chief. Miiyer For Year* production. business has never left the Valley; -Texas has not bom* the brunt As an experiment he and sang no spot on the entire economic cf depresalon and this spot (the recorded tenor, bass and first and map is as well off as this section. Valley) has been peculiarly bless- second baritone parts of a The stage Is home to the entire j song, Thus spoke O. Sum Cummings of ed.'* said Mr. Cummings. He de- then superimposed them and made of Chester Morris, featured Dallas, former president of Kiwwns clared that the Valley should be family a new record which turned out to International, before the Rotan concerned with fair dealing with player in Roland West's "The Bat be a perfect each voice quartet, club at the Christian church Fri- all those who come into this sec- for United Artists, which his own. Tibbett's Whispers," being Only day. A number of Kiwanians had tion and with preventing boom comes to the Capitol theater today. -
D. W. Griffith Centennial
H the Museum of Modern Art U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart D.W. GRIFFITH CENTENNIAL Part II, The Feature Films, May 15 to July 9, 1975 Thursday, May 15 5:30 HOME, SWEET HOME. 1914. With Lillian Gish, Mae Marsh, Blanche Sweet. ca 95 min. and THE MASSACRE. 1912. With Blanche Sweet, ca 30 min. 8:00 D. W. Griffith's THE BIRTH OF A NATION: Muckraking a Southern Legend, a lecture by Russell Merritt, Associate Professor of Communication Arts, University of Wisconsin at Madison Friday, May 16 2:00 THE BIRTH-OF A NATION. 1915. With Lillian Gish, Mae Marsh, Henry B. Walthall, ca 200 min. Saturday, May 17 3:00 HOME, SWEET HOME and THE MASSACRE. (See Thursday, May 15 at 5:30) 5:30 THE AVENGING CONSCIENCE. 1914. With Henry B. Walthall, Blanche Sweet. ca 95 min. and EDGAR ALLAN POE. 1909. With Herbert Yost, Linda Arvidson. ca 15 min. Sunday, May 18 5:30 THE MOTHER AND THE LAW. 1914-1919. With Mae Marsh, Robert Harron, Miriam Cooper, ca 115 min. Monday, May 19 2:00 THE MOTHER AND THE LAW. (See Sunday, May 18 at 5:30) 5:30 THE BIRTH OF A NATION. (See Friday, May 16 at 2:00) Tuesday, May 20 5:30 THE AVENGING CONSCIENCE and EDGAR ALLAN POE. (See Saturday, May 17 at 5:30) Thursday, May 22 67315 INTOLERANCE. 1916. With Mae Marsh, Robert Harron, Miriam Cooper, ca 195 min. Friday, May 23 2:00 INTOLERANCE. (See Thursday, May 22 at 6:30) Saturday, May 24 3700 A ROMANCE OF HAPPY VALLEY. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994.