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One Hollywood
FEATURES Amusements-Radio Part Five F Music—Art—Books 9 Part 5—-8 Pages WASHINGTON, D. C., SUNDAY MORNING, DECEMBER 26, 1937. PAGE F—1 “Snow White” Is Heralded The of Goes In for > Queen Taps Spectacle Comes Now a Dissenter As Picture to Make In the Annual Parade Movies Genuine Art Of “10»Best” Polls Agnostics Capitulate Before Disney. ^ With Some Observations 'About National’s Leading Lady Known This Yearly Business of To Washington Society. Awarding Palms. By Jay Carmody. By Douglas W. Churchill. night some months when the ago, night breathed coldly on the HOLLYWOOD. hills the Hollywood (advt.), conversation drifted around to the sub- OEL! Noel! At tbla glad Christmas time when every one else is gay of ONEject the movies as an art. "Ha,” said the possessor of one of the and forgiving And trying to lead a life free from acrimony for at least film colony’s highest intelligence quotients, "all you have to do to N a few dAgs, this department has withdrawn from the throng around realise the movies are not an art is to see some old pictures. Art is. timeless, the wassail bowl and retired to a corner to do a little disagreeing. For but movies so are definitely of their period their life is as short as this. Bea- this is the season when the "bests” are selected. A thousand groups and ■on’s hats—women’s hats, of course.”" individuals will name the “best” picture, the "best” performances, the "best” As for carrying the same meaning from one generation to another, as direction and the like. -
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 -
NIGHT BEAT Nightside Is Different
nightbeat_2009.qxd:8 pg. Booklet 11/18/09 10:20 AM Page 1 05/22/1952 “Target for a Week” by David Ellis A campaign by a reporter on a rival paper lands Randy NIGHT BEAT in the most desperate situation of his life: facing a murder charge. Nightside is Different 05/29/1952 “The Jockey Brothers” by Larry Roman Two feuding brothers carry Randy on a wild ride through the world of horse racing. Program Guide by Elizabeth McLeod 06/05/1952 “The Marvelous Machine” by Arthur Ross The pen is mightier than the sword, but is it mightier than the .45? That’s the dilemma Randy probes the case of a computer scientist whose faced by hard-nosed crime reporter Randy Stone each week in one of radio’s most invention has brought him into unfortunate contact with memorable newspaper dramas: Night Beat . One in a wave of realistic crime shows Frank Lovejoy the underworld. to sweep the networks at the dawn of the 1950s, it failed to make much of an impression during its original run. However, in the decades since, it’s been 07/17/1952 “A Taste of Peaches” by Irwin Ashkenazi rediscovered by a new generation of radio enthusiasts as a prime example of what Randy becomes enmeshed in the case of an ex-convict desperate to recover his lost might be called “newspaper noir.” loot before rival thugs find it. Night Beat was the heir to a 09/11/1952 “Larry the Understudy” by Gwen Bagni long tradition of newspaper Randy is caught up in the backstage drama as a crime lord determines to make his dramas when it came to girlfriend a star…no matter what. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
2010 Annual Report
2010 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................14 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Robert M. -
The Ghost and Mrs Muir, Du Fantastique Au Merveilleux
The Ghost and Mrs Muir, du fantastique au merveilleux Lefebvre Jacques Pour citer cet article Lefebvre Jacques, « The Ghost and Mrs Muir, du fantastique au merveilleux », Cycnos, vol. 20.1 (Métaphores. L'image et l'ailleurs), 2003, mis en ligne en 2021. http://epi-revel.univ-cotedazur.fr/publication/item/867 Lien vers la notice http://epi-revel.univ-cotedazur.fr/publication/item/867 Lien du document http://epi-revel.univ-cotedazur.fr/cycnos/867.pdf Cycnos, études anglophones revue électronique éditée sur épi-Revel à Nice ISSN 1765-3118 ISSN papier 0992-1893 AVERTISSEMENT Les publications déposées sur la plate-forme épi-revel sont protégées par les dispositions générales du Code de la propriété intellectuelle. Conditions d'utilisation : respect du droit d'auteur et de la propriété intellectuelle. L'accès aux références bibliographiques, au texte intégral, aux outils de recherche, au feuilletage de l'ensemble des revues est libre, cependant article, recension et autre contribution sont couvertes par le droit d'auteur et sont la propriété de leurs auteurs. Les utilisateurs doivent toujours associer à toute unité documentaire les éléments bibliographiques permettant de l'identifier correctement, notamment toujours faire mention du nom de l'auteur, du titre de l'article, de la revue et du site épi-revel. Ces mentions apparaissent sur la page de garde des documents sauvegardés ou imprimés par les utilisateurs. L'université Côte d’Azur est l'éditeur du portail épi-revel et à ce titre détient la propriété intellectuelle et les droits d'exploitation du site. L'exploitation du site à des fins commerciales ou publicitaires est interdite ainsi que toute diffusion massive du contenu ou modification des données sans l'accord des auteurs et de l'équipe d’épi-revel. -
Catalog Sixty-Five Log Sixty-Five
Royal Books Royal Royal Cata Books catalog sixty-five log Sixty-Five log royalbooks.com THE CELLULOID PAPER TRAIL Royal Books is pleased to announce the publication of The Celluloid Paper Trail by Terms and Conditions Oak Knoll Press, the first book All books are first editions unless indicated otherwise. ever published on film script All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected identification and description, by new archival covers. Single, unframed photographs lavishly illustrated and detailed, housed in new, archival mats. designed for any book scholar, In many cases, more detailed physical descriptions for including collectors, archivists, archives, manuscripts, film scripts, and other ephemeral items can be found on our website. librarians, and dealers. Any item is returnable within 30 days for a full refund. Books may be reserved by telephone, fax, or email, Available now at royalbooks.com. and are subject to prior sale. Payment can be made by credit card or, if preferred, by check or money order with an invoice. Libraries and institutions may be billed Please feel free to let us know if you would like according to preference. Reciprocal courtesies extended your copy signed or inscribed by the author. to dealers. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS Priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter. -
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. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Stardom: Industry of Desire 1
STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Advanced Beginner Tap Tap Dance Trivia Name
Advanced Beginner Tap Tap Dance Trivia Name: __________________________________________ Period:___________ 1. Which tap dancer is famous for his “Stair Dance?” a. Jimmy Slyde b. Bill “Bojangles” Robinson c. Fred Astaire d. King Rastus Brown 2. In the 1930s, the Nicholas Brothers dance at what famous New York City club? a. The Jazz Club b. The Jazz House c. The Cotton Club d. The Vine 3. Which tap dancer is famous for appearing in movies with Shirley Temple? a. Bill “Bojangles” Robinson b. Willie Coven c. LaVaughn Robinson d. Eddie Brown 4. Which female tap dancers was known for her “machine gun” fast tapping in the 1930s and 1940s? a. Jeni LeGon b. Elenor Powell c. Ginger Rogers d. Ann Miller 5. Which tap dancer appeared with Gene Kelly and Debbie Reynolds in MGM’s “Singing in the Rain?” a. Fred Astaire b. Donald O’Connor c. Fred Kelly d. Buddy Ebsen 6. Some historians think that tap dancing is a mix of which dance forms? a. Irish Step Dance b. African Dance c. English Clog Dance d. All of the above 7. This small room in a New York club served as the “Harlem Headquarters” for tap dancers in the 1930s: a. The Hoofers Club b. The Hoofers Lounge c. The Tappers Club d. The Hoofers Corner 8. Leonard Reed is known for this tap dance routine: a. The Charleston b. The Tack Annie c. The Shim Sham Shimmy d. The Cakewalk 9. The Famous tap dancers who starred in the film “Tap” was: a. Gene Kelly b. Gregory Hines c.