1949-09-23, [P ]
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
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 -
Howard Duff Collection
http://oac.cdlib.org/findaid/ark:/13030/kt8489r0cj No online items Finding Aid for the Howard Duff Collection Processed by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2007 The Regents of the University of California. All rights reserved. Finding Aid for the Howard Duff 282 1 Collection Descriptive Summary Title: Howard Duff Collection Collection number: 282 Creator: Duff, Howard Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Physical location: COLLECTION STORED OFF-SITE: Advance notice required for access. Access Collection is open for research. Publication Rights Property rights in the physical objects belong to the UCLA Performing Arts Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if the Performing Arts Special Collectionsdoes not hold the copyright. Preferred Citation [Identification of item], Howard Duff Collection, 282, Performing Arts Special Collections, University of California, Los Angeles. Biography Prolific character actor Howard Duff was born on November 24, 1913 in Bremerton, Washington and raised in Seattle. Duff's career spans the early days of radio when he played detective Sam Spade to his numerous roles in television, theater, and film. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Hockey Stays. Gram ¦' Of' Studies
ive for . iloodmob ile G OIIALSKI Monda y Hltt i Stresses Eastern Problems Student Council "The Arab-Moslem World . Be- Proposes 3 Cuts ,- tween East and West" was the sub- ject of a Gabrielson Lecture given on .March 13 by Dr. Philip K. Hitti, •director of the Near Eastern Pro- Hockey Stays. gram ¦' of' Studies . at Princeton Uni- Student Government approved changes in the attendance rules, versity. One of the points that this voted support of keeping hockey as a major sport, and discussed final ¦eminent lecturer brought out was plans for Goralski Day at the meeting last Monday. •that "As a result of this impact of the West — the most sibnificant , •Attendance Rules the most pregnant single fact in the Dean s List Important changes in attendance life of the, people of tho Near East in regulations will go into next year's the last century . and a half — a after final approval by " Is Announced Grey Book, chain reaction ensued, producing BARBARA HALE JEFF DONNELL the Administrative Committee. The psychological disorders, dislocation Council clarified the new rules and ' VISITORS. ... DIVISION of- old loyalties social stresses, ten- MEN'S voted its acceptance of them Mon- 1951-52 sions, and conflicts." FIRST SEMESTER day. The following changes were '. With , the rapid emergence of the Class Of 1952 made : First, there will be a mini- Near East as an area of vital in- Sta rs On Campus William H. Carter II; Richard mum of three cuts in a course per terest to the United States, Prince- T. Chamberlin ; Austin M. Deane ; semester instead of two, a nd Dean 's ton rushed to completion its plans Hollywood Noteables To Joseph O. -
Independent Mad-Scientist Secret Society Mockumentaries for Ages 11 to 12
8/15/2019 How Netflix Reverse-Engineered Hollywood - The Atlantic TECHNOLOGY How Netflix Reverse-Engineered Hollywood To understand how people look for movies, the video service created 76,897 micro-genres. We took the genre descriptions, broke them down to their key words … and built our own new-genre generator. ALEXIS C. MADRIGAL JAN 2, 2014 The Atlantic's Netflix-Genre Generator Independent Mad-Scientist Secret Society Mockumentaries For Ages 11 to 12 CREATE A GENRE: Gonzo (ultraniche genres) Hollywood (film-making cliches) Netflix (mimicking their style) If you use Netflix, you've probably wondered about the specific genres that it suggests to you. Some of them just seem so specific that it's absurd. Emotional Fight-the-System Documentaries? Period Pieces About Royalty Based on Real Life? Foreign Satanic Stories from the 1980s? If Netflix can show such tiny slices of cinema to any given user, and they have 40 million users, how vast did their set of "personalized genres" need to be to describe the entire Hollywood universe? This idle wonder turned to rabid fascination when I realized that I could capture each and every microgenre that Netflix's algorithm has ever created. Through a combination of elbow grease and spam-level repetition, we discovered that Netflix possesses not several hundred genres, or even several thousand, but 76,897 unique ways to describe types of movies. There are so many that just loading, copying, and pasting all of them took the little script I wrote more than 20 hours. We've now spent several weeks understanding, analyzing, and reverse-engineering how Netflix's vocabulary and grammar work. -
Completeandleft
MEN WOMEN 1. BA Bryan Adams=Canadian rock singer- Brenda Asnicar=actress, singer, model=423,028=7 songwriter=153,646=15 Bea Arthur=actress, singer, comedian=21,158=184 Ben Adams=English singer, songwriter and record Brett Anderson=English, Singer=12,648=252 producer=16,628=165 Beverly Aadland=Actress=26,900=156 Burgess Abernethy=Australian, Actor=14,765=183 Beverly Adams=Actress, author=10,564=288 Ben Affleck=American Actor=166,331=13 Brooke Adams=Actress=48,747=96 Bill Anderson=Scottish sportsman=23,681=118 Birce Akalay=Turkish, Actress=11,088=273 Brian Austin+Green=Actor=92,942=27 Bea Alonzo=Filipino, Actress=40,943=114 COMPLETEandLEFT Barbara Alyn+Woods=American actress=9,984=297 BA,Beatrice Arthur Barbara Anderson=American, Actress=12,184=256 BA,Ben Affleck Brittany Andrews=American pornographic BA,Benedict Arnold actress=19,914=190 BA,Benny Andersson Black Angelica=Romanian, Pornstar=26,304=161 BA,Bibi Andersson Bia Anthony=Brazilian=29,126=150 BA,Billie Joe Armstrong Bess Armstrong=American, Actress=10,818=284 BA,Brooks Atkinson Breanne Ashley=American, Model=10,862=282 BA,Bryan Adams Brittany Ashton+Holmes=American actress=71,996=63 BA,Bud Abbott ………. BA,Buzz Aldrin Boyce Avenue Blaqk Audio Brother Ali Bud ,Abbott ,Actor ,Half of Abbott and Costello Bob ,Abernethy ,Journalist ,Former NBC News correspondent Bella ,Abzug ,Politician ,Feminist and former Congresswoman Bruce ,Ackerman ,Scholar ,We the People Babe ,Adams ,Baseball ,Pitcher, Pittsburgh Pirates Brock ,Adams ,Politician ,US Senator from Washington, 1987-93 Brooke ,Adams -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1). -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
Steinhart Runaway Hollywood Chapter3
Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs.