DOCSLIB.ORG

Peace in Jerusalem?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peace in Jerusalem? Published by the Jewish Community of Louisville, Inc. www.jewishlouisville.org EWISH OUISVIllE J L INSIDE: Into the spotlight Performers seek COMMUNITY success at LGT FRIDAY Vol. 46, No. 02 | February 28, 2020 | 3 Adar 5780 Peace in Jerusalem? Habitat house Tenth-generation resident sees hopeful signs in tram, pubs raised with By Lee Chottiner Community Editor support from Of all the efforts to bring peaceful coexistence to Jerusalem, Rabbi Dalia synagogues Marx said few are as successful, albeit By Lee Chottiner coincidental, as the city’s public transit Community Editor system. The Light Rail tram, which began Habitat for Humanity of Metro Lou- operation in 2011 is literally bring- isville dedicated its 525th house on ing Jerusalemites of all backgrounds Saturday, Feb. 22, this one built for a together, Marx said, if only on short Muslim family from Somalia with con- commutes. siderable help from Jewish Louisville. During those quick rides across the All five synagogues contributed a to- city, she said, it’s not uncommon to tal of $10,000 to the project, helping see a Jewish boy offer his seat to an to build the 1,000-square-foot, bunga- elderly Palestinian woman, secular Rabbi Dalia Marx says Jerusalem has become a polarized city. Still, she sees hopeful signs for the fu- low-style house not far from Newburg and haredi riders seated side by side, ture in the city’s Light Rail tram and community-owned pubs. (Community photo by Jessica Budnick) Road. The synagogues decided to get people brushing against each in the Arabs, and Jews and Jews. Her own come, what can be done, so in that behind the project last year during scrum to get off and on the cars while brother and sister have left. sense, I’m optimistic.” a meeting of the Louisville Council trying to say “excuse me” in the other’s But for Marx, a 10th-generation Je- Marx, the Rabbi Aaron Panken Pro- of Jewish Congregations. Other faith language. rusalemite, the City of David is in her fessor of Liturgy and Midrash at the groups have also contributed. Just every-day living in very close DNA, and she is staying put. Jerusalem campus of Hebrew Union In addition, members of Adath Je- quarters. “Jerusalem is challenging,” the Is- College-Jewish Institute of Religion, shurun, Keneseth Israel, Temple Sha- “That’s like a moving lab,” Marx said raeli Reform rabbi said, “but for me, was in Louisville for two weeks in Feb- lom and The Temple – worshippers of the tram. “All of a sudden, you see I’m not going to be chased away from ruary, serving as scholar-in-residence and clergy alike – joined volunteers different kinds of people in the same my home.” at The Temple and Temple Shalom. from churches, mosques and other car, riding together, and they have to She stubbornly believes in the city’s She’s most comfortable talking about faith groups on the “build days” for the deal with it. It’s like a metaphor for the future, and she sees reasons, like the religious topics, such as how Judaism house, helping with the masonry, put- whole situation.” tram experiences, to be hopeful. is expressed today. ting up walls, interior work and a host Which is different from the Jeru- “I think that this tension – this But in an interview with Communi- of other jobs. salem of today, an ancient city that, unique tension you may experience ty, she drilled down on life in the city “I just wanted to help build a house according to Marx, is becoming in- in Jerusalem – is also something very as seen by a progressive Jew with deep for these people,” said Tami Penner of creasingly polarized between Jews and fruitful in terms of what we can be- See MARX on page 23 Temple Shalom, who spent a day paint- ing at the house. Lisa Hebert, director of community and faith relations for Habitat for Hu- manity, said the new owners, Ali and ‘Unlike any other job’ Slma, (their last name is withheld at Glogower’s background, energy prepared her for building an archive Habitat’s request) will buy the house for $80,000 to $100,000 at 0 percent By Lee Chottiner ville, Glogower, curator of the Jewish interest, which makes the dwelling af- collections at the Filson Historical So- Community Editor fordable while saving them hundreds ciety, gave an emphatic one-word an- Abby Glogower had one busy Febru- of dollars a month in rent. swer: “No!” ary. Habitat for Humanity is a global But that’s OK with this expressive, First, she taught a two-part class at nonprofit housing organization work- energetic curator who talks with her Keneseth Israel for people interested ing with volunteers in communities hands. After two years on the job, in archiving their family histories. across the United States and approxi- Glogower said, “business is finally Then she moderated a talk-back ses- mately 70 countries to construct af- booming,” putting the word “business” fordable housing for people in need of sion following a CenterStage perfor- in air quotes. (The Filson is hardly a mance of Hair. decent places to live. business, she noted.) Ali and Slma, who have three sons, She spoke after the Film Festival’s The Filson hired Glogower in 2017 screening of Carl Laemmle about ab- ages 2, 4 and 6, came to Louisville to be its curator of Jewish collections, about six years ago under a lottery sys- sorption of refugees from Nazi-occu- Abby Glogower tasking her with creating a Jewish ar- pied Europe in Louisville. tem, and have been living in an apart- chive at the Old Louisville-based his- ment ever since. The father works for tee of Jewish Community of Louisville And she organized a private event tory center from the ground up. UPS. leaders in organizing boxfuls of photos honoring the life and legacy of Julius “It was completely unlike any other Without Habitat and its volunteers, into what will become part of the new Friedman. job,” she said. the family probably could not afford a Jewish Community Archive (JCA). In addition, she has spent hours in The 2017 Ph.D. graduate of the Uni- house. the basement of the Standard Club Asked if she’s ever been this busy in since November, assisting a commit- a single month since coming to Louis- See GLOGOWER on page 23 See HABITAT on page 23 Small Group Training Special 5% OFF all group training packages! Advantages of Group Training: • Focused instruction • Fun workouts • Motivation by 3 or more of • All the benefits of a personal your BFF’s trainer, but with cost sharing Register at jewishlouisville.org/GroupTraining or call 502-238-2727. 2 Community Y FEBRUARY 28, 2020 Y 3 ADAR 5780 THE DASHBOARD Word of the Month Snapshots: Night at the Speed Haman teaches how not to be happy I see that Jew Mordechai sitting at the king’s gate.” D’var Torah Remember, Haman had everything he ever wished for, but he still could Rabbi Chaim not achieve true happiness because a single person would not bow down Litvin and obey his command to lavish him with honor. The lesson we can glean from this story is that true happiness does not The holiday of Purim is the known come from external sources, accom- as the happiest day of the Jewish cal- plishments or even successes. True endar. On the evening and day of Pu- happiness is about an internal state rim, we read the Megilla – the story of mind. To be truly happy means to of Purim – enjoy a lavish feast, give have an inner sense of purpose and mishloach manot -- food gifts to each fulfillment. other and tzedakah, money to the Happiness comes with clarity of less fortunate. direction within us, and the freedom Our sages tell us that Purim should and ability to give meaning to each be celebrated with great festivity and and every experience and situation. true happiness. Haman simply could not be truly But what is true happiness? happy because his happiness was In our story of Purim, the Megilah purely external. He defined himself highlights two types of happiness – only by how he was viewed by others the joy of the wicked Haman, and around him. So long as Mordechai the joyous celebration of the Jewish would not recognize Haman’s au- people when they were saved. thority, he could never achieve true Haman had everything he could happiness. ever wish for, but did it truly bring Contrast this with the true hap- him joy? In a fairly short period of piness expressed by the Jews of the time, Haman went from having a story. When the Jewish people re- simple life to becoming the prime joiced after they were saved, the Me- Sarah O’Koon (top photo) served as docent for women of the Pomegranates and Lion of Judah, who minister of the entire Persian Em- gillah states, LaYehudim haytah orah toured the Speed Art Museum, Thursday, Feb. 20, as part of the Louisville Jewish Film Festival’s pire. The invitation he received to v’simcha (The Jews had light and screening of Leona in the Speed Cinema. (Community photo by Jessica Budnick) attend a private royal banquet with gladness). just Queen Esther and King Achash- Our sages teach us that “light” is a veirosh, was one of the greatest mo- reference to Torah. The joy they ex- ments of his political career. The Me- perienced was founded in a higher gilla even describes the feelings he set of values and a sense of purpose.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Hollywood Cinema Walter C
    Southern Illinois University Carbondale OpenSIUC Publications Department of Cinema and Photography 2006 Hollywood Cinema Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "Hollywood Cinema." The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP. (Jan 2006): 374-391. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Publications by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. “Hollywood Cinema” By Walter Metz Published in: The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP, 2006. 374-391. Hollywood, soon to become the United States’ national film industry, was founded in the early teens by a group of film companies which came to Los Angeles at first to escape the winter conditions of their New York- and Chicago-based production locations. However, the advantages of production in southern California—particularly the varied landscapes in the region crucial for exterior, on-location photography—soon made Hollywood the dominant film production center in the country.i Hollywood, of course, is not synonymous with filmmaking in the United States. Before the early 1910s, American filmmaking was mostly New York-based, and specialized in the production of short films (circa 1909, a one-reel short, or approximately 10 minutes). At the time, French film companies dominated global film distribution, and it was more likely that one would see a French film in the United States than an American-produced one.
    [Show full text]
  • The Loeb Firm and the Origins of Entertainment Law Practice in Los
    1 3 5 Th e e lo B fir M And the Origins of Entertainment Law Practice in Los Angeles, 1908–1940 m o lly SelV i n * I � Introduction he story of how Edwin Loeb got his start as an entertainment lawyer, T like many tales told of the studio moguls who became his clients and poker partners, has multiple versions. One account pins Edwin’s first entertainment client as “Colonel” William N. Selig, an ex-sideshow operator who turned to slapstick comedies, min- strel-themed shows and westerns. In 1890, Selig moved his operation from Chicago to what became the Echo Park neighborhood of Los Angeles and began making movies, often featuring his growing collection of exotic ani- mals. According to a former Loeb & Loeb partner, Selig retained Edwin in 1914 or 1915 to resolve some of his legal problems after meeting him at * Research Fellow, Stanford Law School. Ph.D., Legal History, UC San Diego. I am tremendously grateful to former Loeb & Loeb partners Howard Friedman and Rob- ert Holtzman for sharing their memories and documents and for commenting on an earlier draft of this paper. Cameron Norris (J.D. 2011, Southwestern) offered excellent research assistance at the start of this project, and my former Southwestern colleague Professor Kelly Strader also kindly provided helpful comments on the draft. Finally, I particularly thank Bryant Garth, former dean of Southwestern Law School, for encour- aging me in this project and for the summer funding that enabled me to start. 1 3 6 c a lifornia l e g a l H i S t o ry ✯ Volume 10, 2015 a social function.
    [Show full text]
  • Read This Issue
    Look to the rock from which you were hewn Vol. 25, No. 4, Year-End 2001 chicago jewish historical society chicago jewish history Save the Date! Sunday, November 18: Adele Hast to Speak on Women Who Helped Build Chicago At the November 18 Open Meeting of the Society, Past President Dr. Adele Hast will speak on Women Building Chicago: 1790-1990, the newly published biographical dictionary she edited with Rima Lunin Schultz. Of the over 400 individual entries in the book, forty are Jewish women, and Dr. Hast will give special attention to them. The program will begin at 2:00 p.m., after a social period with refreshments at 1:30 p.m., at Temple Sholom, 3480 North Lake Shore Drive, Chicago. Admission is free and open to the public. Adele Hast is a historian, editor, and author of Rose Haas Alschuler. several books. She is Scholar in Residence at the Chicago Jewish Archives. Newberry Library and a member of the Academic continued on page 3 Extra! Roosevelt IN THIS ISSUE Esther Weinshenker Natkin, High Alums to 60th Anniversary of the 1907. Chicago Jewish Archives. George Washington, Address Nov. 18 Robert Morris and Haym Open Meeting Salomon Monument “Go, Rough Riders!” Roosevelt Sidney Sorkin: Reel alumni are urged to attend the Men––Chicago’s Jewish meeting (and even sing their Fight Movie Exhibitors Song) at a brief reunion to be held in addition to Adele Hast’s talk. Jewish Book Month: Retired Illinois Supreme Court Suggested Reading Justice Seymour Simon and retired Roosevelt teacher and basketball CJHS Summer Tours 2001: coach Manny Weincord, both Warm Recollections alumni of Roosevelt, will reminisce about Jewish life at their school and Myron Fox: A Jewish Family Sadie American, 1924.
    [Show full text]
  • The Political History of Classical Hollywood: Moguls, Liberals and Radicals in The
    The political history of Classical Hollywood: moguls, liberals and radicals in the 1930s Professor Mark Wheeler, London Metropolitan University Introduction Hollywood’s relationship with the political elite in the Depression reflected the trends which defined the USA’s affairs in the interwar years. For the moguls mixing with the powerful indicated their acceptance by America’s elites who had scorned them as vulgar hucksters due to their Jewish and show business backgrounds. They could achieve social recognition by demonstrating a commitment to conservative principles and supported the Republican Party. However, MGM’s Louis B. Mayer held deep right-wing convictions and became the vice-chairman of the Southern Californian Republican Party. He formed alliances with President Herbert Hoover and the right-wing press magnate William Randolph Hearst. Along with Hearst, Will Hays and an array of Californian business forces, ‘Louie Be’ and MGM’s Production Chief Irving Thalberg led a propaganda campaign against Upton Sinclair’s End Poverty in California (EPIC) gubernatorial election crusade in 1934. This form of ‘mogul politics’ was characterized by the instincts of its authors: hardness, shrewdness, autocracy and coercion. 1 In response to the mogul’s mercurial values, the Hollywood community pursued a significant degree of liberal and populist political activism, along with a growing radicalism among writers, directors and stars. For instance, James Cagney and Charlie Chaplin supported Sinclair’s EPIC campaign by attending meetings and collecting monies. Their actions reflected the economic, social and political conditions of the era, notably the collapse of US capitalism with the Great Depression, the New Deal, the establishment of trade unions, and the emigration of European political refugees due to Nazism.
    [Show full text]
  • 17 Nov Sydney / 23
    Program Festival 2019 Sydney / 23 Oct — 21 Nov Melbourne / 24 Oct — 20 Nov Brisbane / 7 Nov — 17 Nov, Canberra / 7 Nov — 17 Nov Nov 17 — Nov 7 / Canberra Nov, 17 — Nov 7 / Brisbane Perth / 6 Nov — 17 Nov 17 — Nov 6 / Perth SPONSORS, PARTNERS & FRIENDS OF JIFF — CHAI SPONSORS — SILVER SPONSORS — BRONZE SPONSORS — Sponsorship & advertising enquiries [email protected] 2 COVER Top: My Name is Sara (page 33); Bottom: The Tobacconist (page 43). SPONSORS, PARTNERS & FRIENDS OF JIFF — MEDIA PARTNERS — CULTURAL & PROGRAMMING PARTNERS — FRIENDS OF JIFF — Abraham Australian Migration Noah’s Creative Juices A.I.S. Insurance Peter Berkowitz Anonymous Phil and Sue Lewis Anonymous Project Accounting Australia Arnold Bloch Leibler PSN Family Charitable Trust Connect Plus Property Solution Rampersand (Dapal) Escala Partners See-Saw Films Fraid Family Shadowlane Golden Sheaf Hotel Sharon & Gary Hendler Ian Sharp Jewellery The Caulfield Judy Becher The Choc Top Icecream Company Lauren and Bruce Fink The Pacific Group Leo & Mina Fink Fund Viv and Phil Green Milne Agrigroup Westfield Bondi Junction NEXA Wolanski Foundation 3 The 2019 Jewish International Film Festival CONTENTS — Highlight Events . 6 Films (alphabetical order). 8 Melbourne Schedule ���������������������������������������������������������������������������������������������������������������������������������������������50 Melbourne Events . 54 Sydney Schedule . 56 Sydney Events ���������������������������������������������������������������������������������������������������������������������������������������������������������58
    [Show full text]
  • Carl Laemmle Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8kk9ccj No online items Carl Laemmle Collection Finding aid created by Seaver Center for Western History Research, Natural History Museum of Los Angeles County staff using RecordEXPRESS Seaver Center for Western History Research, Natural History Museum of Los Angeles County 900 Exposition Boulevard Los Angeles, California 90007-4057 (213) 763-3359 [email protected] http://www.nhm.org/site/research-collections/seaver-center 2017 Carl Laemmle Collection GC 1300 1 Descriptive Summary Title: Carl Laemmle Collection Dates: 1883-1975 Collection Number: GC 1300 Creator/Collector: Laemmle, Carl, 1867-1939Universal City Studios Extent: (Boxes: 1/2 letter; 6 letter; 2 record storage) Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Los Angeles, California 90007-4057 Abstract: Papers and photographs; in English and German; compiled by Carl Laemmle. Collection contains primarily autographs from an international circle of friends, including heads of organizations, business magnates, statesmen, friends from Laupheim, Germany, the opera world, actors, writers and athletes. Language of Material: English Access Research is by appointment only Publication Rights Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Preferred Citation Carl Laemmle Collection. Seaver Center for Western History Research, Natural History Museum of Los Angeles County Biography/Administrative History Laemmle was the founder of Universal Studios in Los Angeles, California. Scope and Content of Collection Papers and photographs; in English and German; includes Carl Laemmle's "My Book of Friends," a bound volume with handwritten messages and illustrations from the Universal Studios founder's friends in Germany and later in the United States, dated from 1883-1927.
    [Show full text]
  • 170210 Press Release Carl Laemmle Producers Award
    Press Release The recipient of the Carl Laemmle Producers Award has been selected: Roland Emmerich chosen to receive this important new German award for producers Established by the German Producers Alliance – Film & Television in conjunction with the City of Laupheim, this year’s award honors the outstanding producer Roland Emmerich for his life’s work to date. The ceremony will be held on March 17, 2017. Berlin / Laupheim, February 10, 2017. Roland Emmerich is the first-ever winner of the new Carl Laemmle Producers Award, as announced by its originators, the Producers Alliance and the City of Laupheim, at a press conference today in Berlin. The outstanding producer Roland Emmerich is being honored with the Carl Laemmle Award in recognition of his life’s work to date. The award, which is named after the film pioneer and Hollywood trailblazer, is endowed with a prize of 40,000 euros. It will be presented on March 17, 2017 at a gala in Laupheim, Carl Laemmle’s Swabian birthplace. Hollywood giant Emmerich, who is likewise from Baden-Württemberg, will also receive a Laemmle sculpture in the form of a stylized lamb, created by the famous Staatliche Majolika Manufaktur in Karlsruhe. The first honoree has been chosen by an expert jury of nine, chaired by Martin Moszkowicz, head of Constantin Film and Page 1 board member of the Producers Alliance, who commented on the selection as follows: “What distinguishes a winner of the Carl Laemmle Award? Creativity, innovation, success, and the ability to boldly break new ground. All this can be said without hesitation of Roland Emmerich.
    [Show full text]
  • 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.
    [Show full text]
  • “HOLLYWOOD, HITLER & CARL LAEMMLE: the Story of an Unsung
    “HOLLYWOOD, HITLER & CARL LAEMMLE: The Story of an Unsung Hero” The birth of Hollywood is a remarkable story of innovation and ingenuity. It is also an American-Jewish story - one in which Carl Laemmle, an immigrant from Germany, played an enormous role. Laemmle’s greatest legacy, however, stems from what he did during the last two years of his life. On Sunday morning November 8th, at our annual Kristallnacht commemoration, Congregation Or Shalom in Orange will celebrate the life-saving deeds of Carl Laemmle. By 1936, the circumstances of the Jewish community in Nazi Germany had become life threatening. That year, Carl Laemmle retired from his position as founder and president of Universal Pictures, and threw himself into the work of bringing as many of his relatives and former townspeople to safety on American shores. In November 1938, in the aftermath of the horrors of Kristallnacht, Laemmle began reaching out to anyone he could possibly save from the clutches of the Nazi regime. Pressed by Secretary of State Cordell Hull to explain his fervor and generosity on behalf of “complete strangers”, Laemmle wrote: “…It is simply a matter that touches me deeply and I, for one, am willing to go to the limit in helping these poor unfortunates…” In the end, Carl Laemmle rescued hundreds of people from the Holocaust. The precise number of refugees he shepherded to safety in the United States is unknown; historians agree that it was at least 250. Our Kristallnacht program will begin at 9am with a power-point presentation by Thomas Doherty, professor of American Studies and chair of the American Studies Program at Brandeis University.
    [Show full text]
  • Carl Laemmle, Movie Pioneer Started Star System, Founded Universal
    NO. 41 The Museum of Modern Art F0RIMMEDIATE RELEASE 11 West 53 Street, New York. N.Y. 10019 Tel. 956-6100 Cable: Modernart CARL LAEMMLE, MOVIE PIONEER STARTED STAR SYSTEM FOUNDED UNIVERSAL PICTURES 65 YEARS AGO Many celebrated names in motion picture history will be represented in the eight-month retrospective called Universal Pictures: 65 Years, organized by The Museum of Modern Art, to begin on June 9 and continue through January 29, 1978. The Universal cycle, marking six and a half decades of that major film company, was assembled by the Department of Film's Curator, Adrienne Mancia, and Larry Kardish, Assistant Curator. It contains the work of such directors as Erich von Stroheim, Clarence Brown, Lewis Milestone, John Ford, Tay Garnett, Tod Browning, Gregory La Cava, George Cukor, James Whale, Henry Koster, Fritz Lang, and others; it also includes films with Hoot Gibson, Laura La Plante, Lon Chaney, Harry Carey, Deanna Durbin, Marlene Dietrich, Rudolph Valentino, Cary Grant, and many others, as every known talent in film has worked at one time or another at this studio. Here William Wyler started his career; and today Alfred Hitchcock has made this lot his home base. The studio in California was acquired a few years after Carl Laemmle founded the company now known as Universal Pictures. It was born in 1912, a chaotic period of patent disputes, unethical rivals and fierce competition, and it managed to survive, largely due to the ingenuity, determination and showmanship of Laemmle, a Bavarian immigrant, who came to America at age 17, in the year 1884.
    [Show full text]
  • Early Classical Hollywood Cinema 1900'S-In The
    Early Classical Hollywood Cinema 1900’s-In the early 1900s, motion pictures ("flickers") were no longer innovative experiments/scapist entertainment medium for the working-class masses/ Kinetoscope parlors, lecture halls, and storefronts turned into nickelodeon. Admission 5 cents (sometimes a dime) - open from early morning to midnight. 1905-First Nickelodean -Pittsburgh by Harry Davis in June of 1905/few theatre shows in US- shows GREAT TRAIN ROBBERY Urban, foreign-born, working-class, immigrant audiences loved the cheap form of entertainment and were the predominent cinema-goers Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.:Adolph Zukor ,Marcus Loew, Jesse Lasky, Sam Goldwyn (Goldfish), the Warner brothers, Carl Laemmle, William Fox, Louis B. Mayer 1906-According to most sources, the first continuous, full-length narrative feature film (defined as a commercially-made film at least an hour in length) was Charles Tait's biopic of a notorious outback bushranger, The Story of the Kelly Gang (1906, Australia)- Australia was the only country set up to regularly produce feature-length films prior to 1911.- 1907-Griffith begins working for Edision- Edwin S. Porter's and Thomas Edison's Rescued From the Eagle's Nest (1907)/ Griffith- Contributing to the modern language of cinema, he used the camera and film in new, more functional, mobile ways with composed shots, traveling shots and camera movement, split-screens, flashbacks, cross-cutting (showing two simultaneous actions that build toward a tense climax), frequent closeups to observe details, fades, irises, intercutting, parallel editing, dissolves, changing camera angles, soft-focus, lens filters, and experimental/artificial lighting and shading/tinting.
    [Show full text]