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Olga Petrova
Olga Petrova Also Known As: Minnie Collins, Muriel Harding, Madame Petrova, O. Petrova, Olya Petrova Lived: May 10, 1884 - November 30, 1977 Worked as: co-screenwriter, film actress, film company owner, musical comedy actress, producer, screenwriter Worked In: United States by Wendy Holliday As a girl in England at the turn of the century, Olga Petrova (born Muriel Harding) felt stifled by her father’s strict rules. According to her memoir, Petrova’s father told her that while she lived in his house and ate his bread, he would set the rules. Petrova was determined to live in her own house and eat her own bread (Petrova 55-56). Her success in reaching this goal, and more, is reflected in the title of her memoir, Butter with My Bread. According to her memoir, Petrova’s desire for independence led her to run away to become a governess, but it is sometimes difficult to tell the mythmaking from reality in Petrova’s writing. She eventually met a theatre agent and became a successful actress in musicals and vaudeville in both London and New York. She likely chose the stage name Olga Petrova herself and created her own back story as a glamorous Pole or Russian. Later Hollywood publicity claimed that the studio created this persona, but press clippings and her memoir suggest that Petrova used the name on the stage. Petrova began her film acting career in The Tigress (1914), directed by Alice Guy Blaché, whom she describes as wearing a “silken glove” but “capable of using a mailed fist” in the short piece, “A Remembrance” (102–103). -
Mary Murillo
Mary Murillo Also Known As: Mary O’Connor, Mary Velle Lived: January 22, 1888 - February 4, 1944 Worked as: adapter, film company managing director, scenario writer, screenwriter, theatre actress Worked In: France, United Kingdom: England, United States by Christina Petersen In March 1918, Moving Picture World heralded British screenwriter Mary Murillo as a “remarkable example” of “the meteoric flights to fame and fortune which have marked the careers of many present day leaders in the motion picture profession” (1525). This was more than just promotional hyperbole, since, in just four years, Murillo had penned over thirty features, including a highly successful adaptation of East Lynne (1916) starring Theda Bara and the original story for Cheating the Public (1918), “which proved a sensation” at its New York debut according to Moving Picture World (1525). Murillo wrote or adapted over fifty films from 1913 to 1934 in the United States, England, and France, including slapstick comedies, melodramas, fairy tale adaptations, and vehicles for female stars such as Bara, Ethel Barrymore, Clara Kimball Young, Olga Petrova, and Norma Talmadge. As a scenarist, her range included several films focused on contemporary issues—gender equality, women’s suffrage, economic progressivism, and labor reform—while others, such as the child-oriented adaptation of Jack and the Beanstalk (1917), seem to have been meant to appeal as pure escapism. In the latter half of her career, Murillo left the United States for England where she joined several ventures, but never equaled her American output. Born in January 1888 and educated at the Sacred Heart Convent in Roehampton, England, Murillo immigrated to the United States in 1908 at the age of nineteen (“Mary Murillo, Script Writer” 1525; McKernan 2015, 80). -
Alice Guy Blaché
Alice Guy Blaché Also Known As: Alice Blache, Alice Guy, Alice Guy-Blaché Lived: July 1, 1873 - March 24, 1968 Worked as: assistant director, co-director, co-producer, co-screenwriter, director, film company owner, lecturer, producer, screenwriter, secretary, writer Worked In: France, United States by Alison McMahan From 1896 to 1906 Alice Guy was probably the only woman film director in the world. She had begun as a secretary for Léon Gaumont and made her first film in 1896. After that first film, she directed and produced or supervised almost six hundred silent films ranging in length from one minute to thirty minutes, the majority of which were of the single-reel length. In addition, she also directed and produced or supervised one hundred and fifty synchronized sound films for the Gaumont Chronophone. Her Gaumont silent films are notable for their energy and risk-taking; her preference for real locations gives the extant examples of these Gaumont films a contemporary feel. As Alan Williams has described her influence, Alice Guy “created and nurtured the mood of excitement and sheer aesthetic pleasure that one senses in so many pre-war Gaumont films, including the ones made after her departure from the Paris studio” (57). Most notable of her Gaumont period films is La Vie du Christ (1906), a thirty-minute extravaganza that featured twenty-five sets as well as numerous exterior locations and over three hundred extras. In early 1907, Guy resigned her position as head of Gaumont’s film production arm in Paris although she did not end her business relationship with Gaumont. -
The Walsh Brothers in Hollywood
Volume XXXX, No. 11 • January (Eanáir), 2015 The Walsh Brothers in Hollywood .........................................................................................................Raoul and George Walsh got their start wrote. The movie starred silent cinema jackrabbit jumped through a windshield as in New York City, born not to the stage superstar Anna Q. Nilsson as a society he was driving. He gave up the part (but and screen, but both made their marks woman turned social worker who aids the not the directing job), and never acted upon both - Raoul as an actor, director, and regeneration of a Bowery gang leader. again. Warner Baxter won an Oscar for the founding member of the Academy of role Walsh was originally slated to play. Walsh later directed The Thief of Motion Picture Arts and Sciences, George Bagdad (1924) starring Douglas Fairbanks Walsh would wear an eye patch for the rest as an actor. and Anna May Wong, and What Price of his life. Raoul Walsh was born in New York as Glory? (1926) starring Victor McLaglen In the early days of sound with Fox, Albert Edward Walsh to Elizabeth T. and Dolores del Río. Walsh directed the first widescreen Bruff, the daughter of Irish Catholic spectacle, The Big Trail (1930), an epic immigrants, and Thomas W. Walsh, an wagon train western shot on location Englishman of Irish descent. Like his across the West. The movie starred then younger brother, he was part of Omega unknown John Wayne, whom Walsh Gamma Delta during his high school discovered as prop-boy Marion Morrison. days. Growing up in New York, Raoul Walsh renamed Morrison after Revolu- Walsh was also a friend of the Barrymore tionary War general Mad Anthony Wayne, family. -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright. -
Ben-Hur Trivia
IMDb All | IMDb Apps | Help Movies, TV Celebs, Events News & & & Photos Community Watchlist Login Showtimes Edit Ben-Hur: A Tale of the Christ (1925) Ben-Hur: A Tale of the Christ Trivia Did You Know? Trivia Goofs Crazy Credits Showing all 38 items Quotes Alternate Versions Connections Despite the fact that there is nudity in this film, it was passed by censors of that time Soundtracks because it dealt with Christianity, as it was originating. 9 of 10 found this interesting | Share this Explore More Share this page: The troubled Italian set was eventually torn down and a new one built in Culver City, California. The famed chariot race was shot with 42 cameras were and 50,000 feet of film consumed. Second-unit director B. Reeves Eason offered a bonus to the winning driver. Like You and 217 others like this.217 people like The final pile-up was filmed later. No humans were seriously injured during the US Like this. Sign Up to see what your friends like. production, but several horses were killed. 7 of 8 found this interesting | Share this User Lists Create a list » Future stars Gary Cooper, Clark Gable, Joan Crawford, and Myrna Loy were uncredited Related lists from IMDb users extras in the chariot race scenes. Crawford and Loy also played slave girls. (ebop) 2015 Seen Movies: 1925 7 of 8 found this interesting | Share this 5, v. Google a list of 35 titles on June created 31 May 2012 in Garcia According to The Guinness Book of World Records (2002), thearchived movie contains the most edited scene in cinema history. -
Silent Film Festival
SAN FRANCISCO SILENT FILM FESTIVAL A DAY OF SILENTS | DECEMBER 3, 2016 | CASTRO THEATRE MUSICIANS A DAY OF SILENTS DECEMBER 3, 2016 10:00 AM CHAPLIN AT ESSANAY Live Musical Accompaniment by Donald Sosin Introduction by David Shepard 12:15 PM SO THIS IS PARIS Live Musical Accompaniment by Donald Sosin 2:15PM STRIKE Live Musical Accompaniment by Alloy Orchestra ALLOY ORCHESTRA Working with an outrageous assemblage of peculiar 4:45PM DIFFERENT FROM THE OTHERS objects, Alloy Orchestra thrashes and grinds soulful Live Musical Accompaniment by Donald Sosin music from unlikely sources. Founded twenty-five Introduction by Des Buford years ago, the three-man musical ensemble performs live accompaniment its members have written ex- 7:00 PM THE LAST COMMAND pressly for classic silent films. Alloy has helped revive Live Musical Accompaniment by Alloy Orchestra some of the great masterpieces of the silent era by touring extensively, commissioning new prints, and collaborating with archives, collectors, and curators. 9:15PM SADIE THOMPSON At today’s event, the orchestra performs its original Live Musical Accompaniment by Donald Sosin scores for Strike and The Last Command. Introduction by Bevan Dufty TABLE OF CONTENTS 2 CHAPLIN AT ESSANAY essay by Jeffrey Vance 8 SO THIS IS PARIS essay by Margarita Landazuri 14 STRIKE essay by Michael Atkinson DONALD SOSIN 18 DIFFERENT FROM THE OTHERS Pianist Donald Sosin has been creating and performing scores for silent films, both live and for essay by Dennis Harvey DVD releases, for more than forty years. He is the 24 THE LAST COMMAND current resident accompanist at New York’s Film essay by Shari Kizirian Society of Lincoln Center, the Museum of the Moving 30 SADIE THOMPSON Image, and the Brooklyn Academy of Music and has essay by Farran Smith Nehme received commissions to create works for the San Francisco Chamber Orchestra, Chicago Symphony 36 CONTRIBUTORS / ABOUT SFSFF Chorus, Jerusalem Symphony Orchestra, and Turner Classic Movies, among others. -
N O R M a Talmadge
B U R EAUX: 20 Mars 1920 26 iù, Rue PARIS Traversière ( x I I * ) ABO N NEMENTS : O fr. SO FRANCE ÉTRANGER Un an. .. 20 fr. 22 fr. CIN Six mois.. ÎO fr. 11 fr. :: NUMERO 29 :: Pierre HENRY, directeur POUR TOUS Parait le Samedi PUBLICITE 11 DEPOT DE VENTE A PARIS S'adresser à l'Administrateur Agence Parisienne de Distribution aux Bureaux du Journal :: 20. Rue du Croissant. 20 :: SOMMAIRE : Les Idées -- Les Faits Les Films de la Semaine La Photogénie telle que la définissent les vedettes de l'écran Réponses aux Questions posées par nos Lecteurs et un article sur N O R M A TALMADGE l'émouvante interprète de LA SECRÉTAIRE PRIVÉE L'IRRESPONSABLE LES FIIRONDELLES et LA CITÉ DÉFENDUE CINE CINE POUR TOUS POUR TOUS film de Douglas Fairbanks qui ait paru en France, et probablement Mlles Renée Sylvaire et Elmire Vautier et MM. Jacquet et Vibert pour le meilleur de ceux où cet artiste ait paru. interprètes. Espérons que l'Eclipsé continuera dans cette voie. Le Penseur, d'Edmond Fleg, filmé par Léon Poirier, avec le con- cours de Mlle Madys et de MM. André Nox et Tallier pour l'inter- Un des plus jeunes metteurs en scène français, M. René Goiffard LES IDÉES LES FAITS prétation. (Edition : 7 mai). nous est revenu d'Amérique où il a tourné pour Blue Bird, Astra, Ca- Le Carnaval ides Vérités, conçu par Marcel L'Herbier et réalisé par nadian Impériail, des films comme Ketty Brown, The man from, lui avec le concours de Mmes Suzanne Després et Marcelle Pradot ; de Rocky, The sign of the yellow, etc. -
Hatr--" VIOLIN RECITAL by Wallace Reld
J pi - m$www l x W EVENING LEDGER-PHILADELP- HIA, SATURDAY, OCTOBER 20, 1917 , CHRONICLE AND COMMENT CONCERNING DIVERSE DENIZENS OP GLITTERING MIMIC WORD dlreotor superintended tho building of "A widow knows r-- 'J THOMAS MARTELLE that fcaij JUtTBTO FITNESS twenty-thre- e old-sty- cannons use In STARS, MASCULINE, EQUINE, ness Is to fove nn.t i."8..ta t tflisV for FEMININE LIFE IS SEASONED -- ?,rr the battle. Nine of these were actually STUDIES WIDOWS . "A. wldov knows n,. ' W V . that ... tl cast from Iron and were Just as useful for hold a mutt Is to let him go." J t mm- - MISS ADAMS'S GOAL damage as the originals. Fifteen others FOR GEORGE WALSH Star of Walnut's Musical Play Ana- ' were .. ''AL.w!d.kn's that modesiv .. .. wooden and were lighted with flare lyzes Ruses of Modern Mrs. uiu uesi policy." " " puffs for good photographic In the anrifi . effect "A widow B':w 7I1A battle. Bardells knows 'AKR Hnrfa tn Rno KVininrvnrl ways . The Fox studios spent $6000 for ammuni- Screen Actor Preparing New wldiwtfSj? Actors Regardless of Foot-- tion alone during the making of this pro- of Thomas Martelle, portraycr of feminine "A wWoWi especially .r.7. , duction; $3000 went for cannon munitions Production Is Victim roles nnd star of "Tho Fascinating widow,' Knows that possesses when ehe CBtr.n light Prominence and the balance purchased powder nntl Many Jinxes Widow," which comes to tho Walnut Street she the bait, if ? l 1 M? '&. chemicals for the muskets used and for the TJieatro for orta week commencing Mon- question of time until hanr,ghtt , , lo - ' UUKflrc making of hand grenades. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
00 Preliminares:Ucm
cubierta productorOK2.qxp 04/06/2009 12:09 PÆgina 1 EL PRODUCTOR Y LA PRODUCCIÓN EN LA INDUSTRIA CINEMATOGRÁFICA l trabajo que desarrolla el productor cumple una función absolutamente E esencial en el proceso de generación de cualquier obra audiovisual. De este modo, en el análisis de cualquier texto audiovisual no se puede omitir la importancia del trabajo que realizan los productores y lo determinante que resulta la dirección y el diseño de la producción para que las películas, las series y otros productos audiovisuales conozcan el éxito, no sólo en la factura del film o del programa de televisión, sino también en sus procesos de explota- ción (distribución, exhibición, difusión o comercialización), en los que estos pro- fesionales participan de forma muy activa. El productor y la producción en la industria cinematográfica pretende contribuir a un mejor conocimiento de la figura del productor y de los procesos de trabajo que generalmente pasan inadvertidos para los estudiosos del cine y de la televisión. Javier Marzal Felici y Francisco Javier Gómez Tarín (eds.) Tarín Javier Marzal Felici y Francisco Gómez ELY PRODUCTOR LA PRODUCCIÓN EN LA INDUSTRIA CINEMATOGRÁFICA Javier Marzal Felici y Francisco Javier Gómez Tarín (eds.) Maurice Tourneur y el ocaso de la figura del director-productor en el Hollywood de 1920 CARMEN GUIRALT GOMAR 263 Universidad de Valencia De los pioneros cinematográficos que emergieron en Estados Unidos en la década de 1910, Maurice Tourneur (1876-1961) es probablemente el más injustamente olvidado. En los manuales de historia del cine, o bien no se le menciona, o se hace únicamente por su vinculación con la vanguardia experimental norteamericana a través de dos films –The Blue Bird y Prunella, ambos de 1918. -
Third Showing of Film Programs Now at Dalton School 1935–1937
The Museum of Modern Art 11 West 53rd Street, New York, N. Y. Telephone: Circle 7-7470 Cable Address: Modern*! ustees •Mantt Ganger Umxly »ar t Flee»r>eaMentf February 29, 1936 -n A. Hook«WI« Ftea-fVeahfanCt re. John 9. Sheppard Mwurcrt TO MOTION PICTURE EDITORS nel A. LewUohn TO CITY EDITORS rnellua N. BUM Dear Sirs; -. Robert Wooda Buee tephen C. Clark The PRESS -VIEW of the third program, Pi W. Griffith, given Mi W. Murray Crane by the Museum of Modern Art Film Library will be held at he Lord Duveen of Mtllbank the DALTON SCHOOL AUDITORIUM, 108 East 89th Street, New York arahall Field City, TUESDAY, March 3 at 8i30 P.M. IB. Ford aymond B. Foadlck The program will be confined to the work of the great Ameri hlllp Goodwin can director, D. W. Griffith, and will consist entirely of "re. Charlee 9. Payaon the motion picture Intolerance, considered by many his master "re. Stanley Reaor piece. It was completed in 1916, two years after Griffith's re. John D. Rockefeller, Jr. Birth of a Nation, eardaley Ruml aul J. Saeha Program notes giving information regarding the production of 'ward M. M. Warburg Intolerance and its place in the history of the cinema will ohn Hay Whitney be available, as well as several stills from the picture. Music will accompany the showing of the film. I Director! Alfred II. Barr, Jr. You are invited to attend or to send a representative. If you are unable to come Tuesday night, you will be welcome Secretary and Executive Director! to the second showing at the same place and time but on Wed Thomas Dabney Mabry, Jr.