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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 Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
1947-05-02, [P ]
Friday, May 2, 1947 T O L E D O U N T O N J 0 U R N A L Pape Five Award Winners In Cast of Gold win Film Samuel Goldwvn presents. “The Best Years Of Our Lives”, starring Myrna Loy, Fredric March, Dana Andrews, Teresa Wright. Virginia < ' ' *'> ’ ’ ** Mavo and introducing Cathy O’ Don neil with Hoagy Carmichael. Glady- George, Harold Russell, Steve Cockran Rom art Bohnen, Ray Collins, anfl Victor Cutler? _ _ Released through RKO Radm Pic A (Afincint! Hlow “Swordsman” Crew tures Inc. Directed by William Wyler t.- * Jean Porter Cast Screen plav by Robert E. Sherwood Hayworth On European Tour Hold Loral Reunion From * novel by MacKinlay Kantor H ith Jimmy Lydon Director Of Photography Oregj HOLLYWOOD — Remin Toland. HOLLYWOOD — Jimmy iscing Is the vogue on the set Now Showing At State Theatre Lydon has been east to play For “Doan To Earth” of “The Swordsman' at Co- By Burny Zawodny the male lead opposite Jeaa lumhia these day* and for Porter in “Sweet Gene good reason. .' # ‘ * a Rita Hayworth, star of Columbia’s forthcoming Technicolor Samuel Goldwyn, who had vieve” the high school mu On the first day Of production ■Down To Earth” arrived in New York, Saturday ihooting, been in the movie industry since sical to be produced hy Sana Larry parks, male star of the 913, certainly is no man to go •' 1■■■ Katzmaa for Columbia re- (April 12) on the first leg of a goodwill tour ef Europe in con Technicolor film, discovered overboard in his expectations lease. nection with the forthcoming top-flight film. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
STOKOWSKI “VIRGINIA.” Phone Alex 3491 I
-----— Audience Watches Barnes the fine points of disrobing There’s No entertainingly, yet without disturb- Just Gratitude Real ing the censors. in Theaters This Week Strip Tease, Binnie proved an apt pupil. The Washington scene was soon filmed. , Ex-Lifeguard Ronald Reagan Saved Photoplays Reacts .. .. ■■■■■' ■■■ next was t !■■■■■■.. -|| Properly Rogeirs task to record an audience reaction to the Barnes Was Thanked Once WEEK OF MAY 4 I SUNDAY j MONDAY TUESDAY | WEDNESDAY THURSDAY FRIDAY 8ATURDAY B> the Associated Press. Many, Only Several didn't AmHiamw I ‘This-Thin?: Called This Thing Called “Arise, My Love. and “Ariw- My Love." and Melody and Moon- “Melody and Moon- “South of Suez" and HOLLYWOOD. undressing. attempts Bt the Associated Press. Mcaatmy and “Light of t” and of "Boss of Bullion HOLLYWOOD. Love.. nnd Love*. pnd Xhe Devll Com. The Devil Com- light Ugl "Light What’s the best way of getting a go so well. Finally he said to Misa 6th and G Bta. 81 1 “Escape toGlory“Escape to Glory_mands_/|_ _mauds.”_Western Stars.”_Western 8tars.”_City.”_ Would you feel grateful if, your last, a you favorable audience reaction to an Troy. gasping lifeguard pulled Irene”Dunne and Irene Dunne and Irene Dunne and Irene Dunne and Irene Dunne and Merle Oberon. Dennis Merle Oberon. Dennis to safety? nmuabbauur Cary Grant in Cary Grant in Cary Grant in Cary Grant in Cary Grant in Morgan. ‘Affection- Morgan. AfTection- tease from a theater ** imaginary strip ‘'How about the real thing?" but 18th and Columbia Rd. “Penny Serenade.'* Penny Serenade.'* “Penny Serenade "Penny Serenade.” "Penny Yours.” Maybe, Movie Actor Ronald Reagan won't take any bets. -
Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947. -
Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 1-1-2016 Mountain Men on Film Kenneth Estes Hall East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the American Film Studies Commons, and the Film and Media Studies Commons Citation Information Hall, Kenneth Estes. 2016. Mountain Men on Film. Studies in the Western. Vol.24 97-119. http://www.westernforschungszentrum.de/ This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Mountain Men on Film Copyright Statement This document was published with permission from the journal. It was originally published in the Studies in the Western. This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/596 Peter Bischoff 53 Warshow, Robert. "Movie Chronicle: The Western." Partisan Re- view, 21 (1954), 190-203. (Quoted from reference number 33) Mountain Men on Film 54 Webb, Walter Prescott. The Great Plains. Boston: Ginn and Kenneth E. Hall Company, 1931. 55 West, Ray B. , Jr., ed. Rocky Mountain Reader. New York: E.P. Dutton, 1946. 56 Westbrook, Max. "The Authentic Western." Western American Literatu,e, 13 (Fall 1978), 213-25. 57 The Western Literature Association (sponsored by). A Literary History of the American West. Fort Worth: Texas Christian University Press, 1987. -
The Marr & Colton Co. Was Organized In
soon after, became organist for WLS. For 1923 Prof. RAYMOND BEDELL, God several years, through his brilliant radio ard; EDWIN GRANDIN, T&D; JAMES concerts, he enjoyed possibly the most L. MITCHELL, Liberty . 1924 ALLEN widespread popularity an organist can ever LANE, ARTHUR POWER & CHARLES hope to attain. Wll.SON, Capitol's 2/14 Wurlitzer ... 1925 During this time, he conducted classes ETHA BOWMAN , Capitol; CY GRAVES, in Motion Picture Playing, with which he Godard; GENE HOWARD & EDWIN was very successful. His classes were al WALTON, California 's 2/ 6 Wurlitzer; ways filled, backed by a waiting list. You BOB WIDENER , Liberty ... 1927 Miss can see that Mr. Emerson was about the DALTON, Capitol; CY GRAVES, Se Prospected busiest organist in the city, being a glutton quoia; E.Y. HEGBON, Alhambra; GENE by for work with plenty to do. HOWARD , Liberty ... 1928 ISABELLE Lloyd From all this, evolved the thing which HARRIS, Hippodrome; ALLEN LANE & E. was to make the name of Ralph Waldo HENRI LE BEL, Senator; EDDIE SELLEN, Klos Emerson popular in the world of organ Godard ... 1929 CY GRAVES, Alhambra; playing. With his valuable knowledge of Mr. MAINARD, Hippodrome. the public 's demands, gleaned through 1986 by Margaret Dilling, Sources were: Diapason (D), Jacobs (J) many thousands of requests , and his ex University of California and Local Press (LP). perience as a motion picture organist, it is From the age of nine through high no wonder that he was more than qualified school, ELOISE ROW AN studied classical January 1925 (D) to become the founder of a very unique piano at the Dakota Conservatory of The Marr & Colton Co. -
Summer Clearance Ipa SUNRISE
Friday. July 1S« Page Eight THE PILOT—Soulh*ra Piaa*. North Carolina FOR SALE: 1—400 gallon steel POSITION WANTllD: Graduate NOTICE—Liberal reduction in agreement, two have become de expressed from time to time to OATH OF OFFICE rent to desirable tenant for im TOWN BOARD linquent and the problem was different members of the boarf, tank, 1 gas range, 1 coal range. .Notre Dame Academy. Good stenographer and typist, some mediate rental. For something (Continued from Page 1) whether the town had the right to the advisability of bringing in 2 Delco light plants with 400 John s. RuggiM will go to gallon tank. One wine press. knowledge of b^kkeeping. different from the usual bee expenses, for extra duties render continue to maintain these roads small groups of homes by agree hive, see Wallace Bryant’s artis ment of the owners was discussed. Raleigh TuMday to b» sworn One hand pump. One large tent, Good at detail. Permanent or ed in behalf of the town which on an equal basis with the others. tic, well furnished apartments. Referral was made to the town in as a m«mb«r of lha Slata will cut to any size. A. Monte- temporary. Phone 8854 or write have hitherto been considered The matter was referred to Hoke Box 683. jlSpd Lovely grounds. Inquire 5 to 6 Pollock, town attorney, to 'see attorney, for a later report, con Hospitals Board of Controls. santi. West-Broad St. Southern municipal obligations, and to meet Pines. JlSchg p.m.. Orchard Road, first comer the additional expense in partial what legal steps are in order. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships. -
The Man of a Thousand Voices”
Brother Mel Blanc: “The Man of a Thousand Voices” By Sir Knight Ivan Tribe lthough the name of Mel Blanc in 1925. He held the group in high es- may not be widely known, over teem for the rest of his life. In 1966, he A the last seventy-five years un- received the Legion of Honor. On April told millions, especially children, have 27, 1987, Blanc was inducted into their heard his voice in one of its numer- Hall of Fame commenting at the time, ous forms. Virtually anyone who has “I have been a member of DeMolay for watched a Warner Brothers cartoon has sixty-three years. I thank God and De- heard his voice as that of Bugs Bunny, Molay for helping me become kind and Foghorn Leghorn, Porky Pig, and numer- thoughtful to my parents and all my ous other Warner characters. Blanc did friends. I had many opportunities to do numerous other voices and sounds dur- the wrong things, and I might have done ing the “Golden Age of Radio” and other them if it had not been for DeMolay. cartoon voices as well. A lesser-known God bless them.” fact concerning Blanc is his long affili- Intrigued by show business, Melvin ation with the Order of DeMolay, blue watched vaudeville performances when- lodge Masonry (fifty-eight years), the ever he could and also saw opportuni- Scottish Rite, and Shrine. Entertaining ties in the new medium of radio. Station children at Shrine hospitals became one KGW went on the air in 1922, and Blanc of his principal causes in life.