Casablanca (1942)
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The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
War on Film: Military History Education Video Tapes, Motion Pictures, and Related Audiovisual Aids
War on Film: Military History Education Video Tapes, Motion Pictures, and Related Audiovisual Aids Compiled by Major Frederick A. Eiserman U.S. Army Command and General Staff College Fort Leavenworth, Kansas 66027-6900 Library of Congress Cataloging-in-Publication Data Eiserman, Frederick A., 1949- War on film. (Historical bibliography ; no. 6) Includes index. 1. United States-History, Military-Study and teaching-Audio-visual aids-Catalogs. 2. Military history, Modern-Study and teaching-Audio- visual aids-Catalogs. I. Title. II. Series. E18I.E57 1987 904’.7 86-33376 CONTENTS PREFACE ................................................. vii Chapter One. Introduction ............................... 1 1. Purpose and Scope .................................. 1 2. Warnings and Restrictions .......................... 1 3. Organization of This Bibliography .................. 1 4. Tips for the Instructor ............................... 2 5. How to Order ........................................ 3 6. Army Film Codes ................................... 3 7. Distributor Codes .................................... 3 8. Submission of Comments ............................ 5 Chapter Two. General Military History ................. 7 1. General .............................................. 7 2. Series ................................................ 16 a. The Air Force Story ............................. 16 b. Air Power ....................................... 20 c. Army in Action ................................. 21 d. Between the Wars .............................. -
Films of Hedy Lamarr
During the 1930s and 1940s, Hollywood was truly the great dream factory. From the sound stages and produc-tion lots of its Studios, the directors, movie Stars, and technicians who labored on this gigantic production line sent forth a series of packaged dreams that seemed end-less. In those years of Depression and war, they were products we needed badly. And on this talented production line, not one of those packagers of dreams was more beautiful or ex- citing than Hedy Lamarr. Hers was the beauty and excitement that once made a Paris audience gasp „Ec- stasy!“ and so named her most famous movie. But after a galaxy of headaches and heartaches caused by six ill-starred marriages, the loss of a for- tune, and a well-publicized arrest on a shoplifting charge, Hedy Lamarr still believes that her beauty brought on most of her troubles. „Everywhere I find men who pay homage to my beauty and show no interest in me,“ she complained once. One foolish young man even killed himself when she refused to marry him, and her first husband was so jealous of her that he locked her up in his palace. When she arrived in the United States, Ed Sullivan wrote in his column that she was the most beautiful Out of a Dream“ to her. It seems an apt description of woman of the Century. Few could dispute that asser- the Viennese beauty who graced thirty European and tion. When you looked at the raven hair and sensuous American movies between 1930 and 1957. mouth, the upturned nose and tranquil dark eyes, you She was born Hedwig Eva Maria Kiesler on No- were trans-fixed by what you saw. -
A Tribute to Michael Curtiz 1973
Delta Kappa Alpha and the Division of Cinema of the University of Southern California present: tiz November-4 * Passage to Marseilles The Unsuspected Doctor X Mystery of the Wax Museum November 11 * Tenderloin 20,000 Years in Sing Sing Jimmy the Gent Angels with Dirty Faces November 18 * Virginia City Santa Fe Trail The Adventures of Robin Hood The Sea Hawk December 1 Casablanca t December 2 This is the Army Mission to Moscow Black Fury Yankee Doodle Dandy December 9 Mildred Pierce Life with Father Charge of the Light Brigade Dodge City December 16 Captain Blood The Private Lives of Elizabeth and Essex Night and Day I'll See You in My Dreams All performances will be held in room 108 of the Cinema Department. Matinees will start promptly at 1:00 p.m., evening shows at 7:30 p.m. A series of personal appearances by special guests is scheduled for 4:00 p.m. each Sunday. Because of limited seating capacity, admission will be on a first-come, first-served basis, with priority given to DKA members and USC cinema students. There is no admission charge. * If there are no conflicts in scheduling, these programs will be repeated in January. Dates will be announced. tThe gala performance of Casablanca will be held in room 133 of Founders Hall at 8:00 p.m., with special guests in attendance. Tickets for this event are free, but due to limited seating capacity, must be secured from the Cinema Department office (746-2235). A Mmt h"dific Uredrr by Arthur Knight This extended examination of the films of Michael Only in very recent years, with the abrupt demise of Curtiz is not only long overdue, but also altogether Hollywood's studio system, has it become possible to appropriate for a film school such as USC Cinema. -
WP5 Refugees on Screen
1 Refugees on Screen TERENCE WRIGHT Introduction … it’s what they call ‘compassion fatigue’, the idea that we get so much human suffering thrust in our faces every day from the media that we’ve become sort of numbed, we’ve used up all our reserves of pity, anger, outrage … smudgy b/w pictures of starving black babies with limbs like twigs and heads like old men … or stunned- looking refugees, or amputees on crutches. How is one supposed to stem this tide of human misery? (David Lodge, Therapy, 1996) World interest in refugees has perhaps never been so great as it is today. The main responsibility for bringing images of refugees into our homes lies almost entirely with the focus of media attention. While numbers of those forced to migrate increase, we are witnessing a global revolution in mass communications. Owing to the in- creased speed and accessibility of media technology, a ‘visual culture’ is emerging that relies more and more upon information provided by pictures. The images we see on our television screen play a crucial role in determining how we construct our reality. One of the consequences of our ‘digital era’ is a considerable reduction in communication through language, in favour of relying on the visual image to tell the story. As Ignatieff (1998: 26) puts it: ‘The entire script content of the CBS nightly half-hour news would fit on three-quarters of the front page of the New York Times’. For journalism, the outcome is a more simplistic treatment of current affairs. Yet when we stop to think about how much of our knowledge of the world is derived from pictures, we find that there is also very little general understanding about how visual images communicate this information. -
CASABLANCA / 1943 (Casablanca) Um Filme De Michael Curtiz
CINEMATECA PORTUGUESA-MUSEU DO CINEMA POR UMA CANÇÃO 3 e 10 de Agosto de 2021 CASABLANCA / 1943 (Casablanca) um filme de Michael Curtiz Realização: Michael Curtiz / Argumento: Julius J. Epstein, Philip G. Epstein e Howard Koch, baseado na peça teatral Everybody Comes to Rick’s de Murray Burnett e Joan Allison / Fotografia: Arthur Edeson / Direcção Artística: Carl Jules Weyl / Décors: George James Hopkins / Guarda-Roupa: Orry-Kelly / Música: Max Steiner / Canções: As Time Goes By, letra e música de Herman Hupfeld; Knock on Wood, música de M.K. Jerome e letra de Jack School / Som: Francis J. Scheid / Efeitos Especiais: Laurence Butler e Willard Van Enger / Conselheiro Técnico: Robert Alsner / Montagem da sequência de abertura: Don Siegel / Montagem: Owen Marks / Interpretação: Humphrey Bogart (Rick), Ingrid Bergman (Ilsa Lund), Paul Henreid (Victor Laszlo), Claude Rains (Capitão Louis Renault), Conrad Veidt (Major Strasser), Sydney Greenstreet (Ferrari), Peter Lorre (Ugarte), Marcel Dalio (o “croupier”), S.Z. Sakall (Carl, o criado), Madeleine Lebeau (Yvonne), Dooley Wilson (Sam), Joy Page (Annina Brandel), John Qualen (Berger), Leonid Kinskey (Sacha), Helmut Dantine (Jan), Curt Bois (o “pickpocket”), Corinna Mura (a cantora), Ludwig Stössel (Mr. Leuchtag), Ilka Gruning (Mrs. Leuchtag), Charles La Torre (Tonelli, o oficial italiano), Frank Puglia (o vendedor árabe), Dan Seymour (Abdul). Produção: Hal B. Wallis para a Warner Brothers / Cópia: da Cinemateca Portuguesa-Museu do Cinema (entrada na colecção com o apoio da CIMPOR), 35mm, preto e branco, legendada em português, 102 minutos / Ante-Estreia Mundial: 4 de Novembro de 1942 / Estreia Mundial: 23 de Janeiro de 1943 / Estreia em Portugal: 17 de Maio de 1945, no Cinema Politeama. -
American Newspaper Coverage of the Trial of the Major War Criminals at Nuremberg Brian Gribben Fort Hays State University, B [email protected]
Fort Hays State University FHSU Scholars Repository Master's Theses Graduate School Fall 2010 Weighted scales: American newspaper coverage of the trial of the major war criminals at Nuremberg Brian Gribben Fort Hays State University, [email protected] Follow this and additional works at: https://scholars.fhsu.edu/theses Part of the History Commons Recommended Citation Gribben, Brian, "Weighted scales: American newspaper coverage of the trial of the major war criminals at Nuremberg" (2010). Master's Theses. 170. https://scholars.fhsu.edu/theses/170 This Thesis is brought to you for free and open access by the Graduate School at FHSU Scholars Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of FHSU Scholars Repository. WEIGHTED SCALES: AMERICAN NEWSPAPER COVERAGE OF THE TRIAL OF THE MAJOR WAR CRIMINALS AT NUREMBERG being A Thesis Presented to the Graduate Faculty of the Fort Hays State University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Brian Gribben B.A., Fort Hays State University Date_______________________ Approved__________________________________ Major Professor Approved__________________________________ Chair, Graduate Council ABSTRACT The Trial of the Major War Criminals at Nuremberg, the personalities associated with the trial, the verdicts rendered, and criticisms directed toward both those verdicts and the tribunal itself have generated a multitude of historical works. However, few historians have explored the American print media‟s coverage of the trial and even fewer have studied how a newspaper‟s disposition towards the trial reflected that publication‟s political ideology and influenced the newspaper‟s coverage of the trial itself. -
From Hitler to Hollywood: Transnational Cinema in World War Ii
FROM HITLER TO HOLLYWOOD: TRANSNATIONAL CINEMA IN WORLD WAR II Joy L. Bennett A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2011 Committee: Dr. Beth Griech-Polelle, Advisor Dr. Rebecca Mancuso ABSTRACT Dr. Beth Griech-Polelle, Advisor This is a comparative study between the film industries of Nazi Germany and the United States in World War II. I examine the governmental influence on the cinematic industries and how that affected the people. I also show that the Nazi government had more influence than is generally thought over the United States and the film industry in Hollywood. The émigrés that had to flee the Nazis brought new ideas to Hollywood, creating new genres of film. The use of Government documents, diaries, memoirs, films as well as secondary sources are the major sources. The government documents were obtained from the Motion Picture Artists Association Archive, and deal specifically with the Office of War Information. The OWI created rules for filmmaking in the war years and oversaw many productions, including Army training films. The diaries are those of Propaganda Minister Joseph Goebbels, and I include an appendix of statements he made regarding films. In looking at certain émigrés and stars in both Hollywood and Germany, I use autobiographies and biographies detailing the lives of the famous in the pertinent years. Many of the secondary sources are previously written works about the creation of cinema, Hollywood history and the German cinematic industry. I use many films to illustrate the ideas that were being expressed to the public, as well as entertaining the people. -
WP5 Refugees on Screen
1 Refugees on Screen TERENCE WRIGHT Introduction … it’s what they call ‘compassion fatigue’, the idea that we get so much human suffering thrust in our faces every day from the media that we’ve become sort of numbed, we’ve used up all our reserves of pity, anger, outrage … smudgy b/w pictures of starving black babies with limbs like twigs and heads like old men … or stunned- looking refugees, or amputees on crutches. How is one supposed to stem this tide of human misery? (David Lodge, Therapy, 1996) World interest in refugees has perhaps never been so great as it is today. The main responsibility for bringing images of refugees into our homes lies almost entirely with the focus of media attention. While numbers of those forced to migrate increase, we are witnessing a global revolution in mass communications. Owing to the in- creased speed and accessibility of media technology, a ‘visual culture’ is emerging that relies more and more upon information provided by pictures. The images we see on our television screen play a crucial role in determining how we construct our reality. One of the consequences of our ‘digital era’ is a considerable reduction in communication through language, in favour of relying on the visual image to tell the story. As Ignatieff (1998: 26) puts it: ‘The entire script content of the CBS nightly half-hour news would fit on three-quarters of the front page of the New York Times’. For journalism, the outcome is a more simplistic treatment of current affairs. Yet when we stop to think about how much of our knowledge of the world is derived from pictures, we find that there is also very little general understanding about how visual images communicate this information. -
Warner Brothers Screenplays, 1930-1950 Author Index
Warner Brothers Screenplays, 1930-1950 Author Index Accidents Will Happen. Anthony Adverse. (1938) (1936) Associate Producer: Bryan Foy; Director: William Supervisor: Henry Blanke; Director: Mervyn LeRoy; Clemens; Principal Cast: Ronald Reagan, Gloria Principal Cast: Fredric March, Olivia de Havilland; Blondell; Adaptation: George Bricker, Anthony Source: Novel, Anthony Adverse, by Hervey Allen; Coldewey; Source: Original story, 'Accidents Do Scripts: Treatment. By Sheridan Gibney. 10 Apr. Happen', by George Bricker; Script: Final. By George 1934. 42 pp. [19/5]; Rev. Final. No author shown. 2 Bricker, Anthony Coldewey, and Victor C. Rose. 24 Nov. 1935 with revisions to 12 Feb. 1936. c 195 pp. Aug. to 27 Aug. 1937. c 137 pp. (1/1). [20/2]. Reel: 26 Reel: 71 The Adventures of Robin Hood. Black Legion. (1938) (1937) Producer: Hal B. Wallis; Directors: William Supervisor: Robert Lord; Director: Archie Mayo; Keighley, Michael Curtiz; Principal Cast: Errol Principal Cast: Humphrey Bogart, Ann Sheridan; Flynn, Olivia de Havilland; Adaptation: Seton I. Adaptation: Abem Finkel, William Wister Haines; Miller, Norman Reilly Raine; Source: Original story, Source: Original story, 'Black Legion', by Robert "Adventures of Robin Hood," by Norman Reilly Lord; Scripts: Short story. By Robert Lord. 8 Jun. Raine; Script: Temporary. By Rowland Leigh. 23 1936. 22 pp. (34/3); Treatment. By Abem Finkel and Nov. 1936. 164 pp. [7/3]; Rev. Final 4. By Norman Robert Lord. 8 Jul. 1936. 76 pp.; Final. By Finkel and Reilly Raine and Seton I. Miller. 25 Sep. 1937. 162 William Wister Haines. ND. with revisions to 27 pp. [8/3]. Nov. 1936. c 160 pp. (34/6).