DOCSLIB.ORG

Radio-TV-Life-1952-01-04.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Radio-TV-Life-1952-01-04.Pdf SEEN ON THE RADIO SCENE ROY ROGERS and his namesake fan spend a pleasant afternoon on Roy's En- cino ranch. 411e, SOPRANO DOROTHY KIRSTEN, who has co-starred wi-h Gordon MacRae on many "Railroad Hour" broadcasts, pauses a moment to relax and discuss with Gordon some of their forthcoming operatic roles. (NBC-Holloway photo.) The QUICKEST Mix of All _ . CHAMPAGNE BUBBLES and a pretty girl here— Each one brings you holiday cheer— Her sparkling eyes and smile bright 1111111 MINIM /nil 111. %%%%%% ritiss mumI I Will help you start the New Year right. Joyce Widoff, video-stage actress, is one of the entertainers featured in the Holly- wood USO New Year's show. Ttr -Rodin Life (Formerly audio-Television life). '.'.ember Audit January I. 1952, 1, ol. 24. No. 19. I AIM M. Publisher. Published weekly at Los Angeles, California. liusinews and Editorial Offices: 6361 Selma A .P., Los Angeles es (Hollywood .41,st I, Cali- fornia. Phone 1111Iside 9255. T% -limbo Life was entered as Second Clain Matter September 14, 1948. at Los Angeles, under Act of March 3, 1859. Page 3 oiti January 4, 1952 OR YEARS the highbrow drama critics have con- .......... • sidered daytime serials as pretty lowbrow dramatics. They have scorned the creators of what they considered an overdose of tears, crises and unending sob stories that please and torment the average feminine afternoon set-sider. But they were all wrong when it came to a long-time soap -opera fa- vorite, "Against the Storm," which re- cently returned to a regular radio berth every week day at 10:45 a.m. over ABC-KECA. There was an im- pressive Peabody Award backing every airing of "Against the Storm" to refute any sudser delineators who dote on tearing to shreds any day- time drama. And what is more, "Against the Storm" is the first and q only commercial daytime drama ever to receive the coveted Peabody Award, radio's equivalent to the Pulitzer Prize. The Plot "Against the Storm" is basically a story of a generation born into a world of mortal conflict. It revolves ine.. WHEN "AGAINST THE STORM" about the personality of "Professor takes to the air, Roger DeKoven Jason McKinley Allen" of mythical portrays the understanding "Professor "Harper University" and "Deep Pool Jason McKinley Allen" and Joan Tomp- Farm." "Allen's" family consists of kins plays the role of his daughter "Siri." "Sie," a young newly married daugh- ter, "Christy,' the second daughter, and "Margaret," the professor's wife. LISTENERS SELDOM see the actress The Author who may be one of their soap-opera The author, Sandra Michaels, 4favor'tes. Here is Anne Seymour, whose petite appearance belies her who draws set-siders to the radio with mental courage in reaching out to her enacting of "Liz Porter." write a revolutionary type of sudser, won her Peabody Award in 1942, three years after the program was and basically sound dramatically, originally aired. She fights vigorous- people will tune in without the ly with anyone who labels her artificial stimulus of a lot of silly "Against the Storm" merely a "soap questions about whether or not a opera." man's other wife will meet his other wife. If it isn't, no amount of coax- ing or teasing can make them listen." She hails her characters as real, live, warm, human people. Their Soap Opera Z-liat problems are those of the listeners, she says. Similarly her plot lines for "Against the Storm" follow events that could or do take place in the lives of normal, reasonable and healthy people. Defied the Z'aboos At Home It's no easy task to keep scripts coming for "Against the Storm," but the author works steadily at her -"Against the Storm" Won Peabody Award thirty-two-acre Greenwich, Connecti- With Its Realistic Approach to Daytime Serial cut, farm, writing the equivalent of six extra-size novels a year. When not writing, she can usually be found, attired in slacks, playing with This tiny radio scripter said, "Ev- simplicity or recognizable univer- her menagerie of Persian cats, ery time I hear 'soap opera' I see sality which makes it understand- poodles, and a Sardinian donkey, or red! Unfortunately, there's a tend- able to the average intelligence. riding through the countryside on ency to lump all daytime dramatic Above all, she did not accept the one of the, farm's horses. shows under that one odious head- premise that daytime listeners de- Being a pert housewife of John ing, and that makes it tough for the mand less and are less intelligent Gibbs, radio-TV producer, doesn't writer who comes along with some- than nighttime audiences. She said, stop Sandre from creating tense, thing different." "ft's silly to be afraid to aim too emotional episodes which pulled high for the average listener." Miss Michaels. it seems, discarded such famous listeners as Robert the rules formerly observed by suds- Her Theory Hutchins, former Chancellor of the er writers. She held the view that Miss Michaels explained her theory University of Chicago, and the late most great literature has a basic this way. "If a story is interesting President Roosevelt. January 4, 1952 Page Three le FOR TV DRAMATIZATION OF 'THE DECISION" on "Schlitz Playhouse of .Stars," Al Ostrander created a set of early presidential feeling. Working against this dignified background are Byron Russell (playing rple of President Harrison) and Walter Hampden (enacting Daniel Webster). It's JVot4II4cting.. That Turns One of Television's Most Lavishly Cast Dramatic Shows Into a Weekly TI" Treat o n e time," Ostrander continues. F washingY FIRST jobpaint was "While putting the finishing touches buckets," recalls Al on this week's show, I'm completing _ Ostrander, artist who designs for the next anc doing the â/I creates the wonderful preliminary planning fur the one sets on CBS-TV's Friday night na- after that." tion-wide treat titled "Schlitz Play- And so another craft has been house of Stars." added to the so-called ulcer depart- ment of television. This select group, Working literally night and day heretofore reserved for writers, di- 41, with his five assistants, Ostrander rectors and producers, now has been has charge of designing and pro- invaded by the set designer. And ON STAGE at "Schlitz Playhouse curing all of the sets and props that Al was a charter member. of Stars," set creator Ostrander are needed for the weekly hour- pauses during examination of a show long dramatic show. "I actually Puppets and Broadway background. work on the sets for three shows at A native of Pittsfield, Massachu- Page Four January 4, 1952 le CHINESE NIGHT-CLUB SCENE WAS FABRICATED to lend PARISIAN NIGHT-CLUB SET WAS EFFECTIVE backdrop for proper atmosphere to "The Name Is Bellingham," acting of David Niven and Helen Hayes, who premiered documentary drama of narcotic smuggling. Players are John the new Schlitz series with a delightful romant.c drama titled Payne, portraying a U. S. customs agent, and Romney Brent, "Not a Chance." Five assistants aided Ostrander in creating cast as "Chin Wah," smuggler. this and other settings. setts, Ostrander has been connected with some aspect of theatrical de- sign all his life. After his stint at washing paint buckets, he went on to design for Tony Sarg Puppet En- terprises, and later to a position on noted designer Norman Bel Geddes's staff. In recent years he has designed sets not only for circuses and ice shows, but also for such Broadway productions as "Panama Hattie," "Louisiana Purchase" and "Hellza- poppin'." More lately, for TV, he lists the Faye Emerson, Victor Borge, and "Ford Theatre" programs among his scenic credits. Each a Problem Each story on the Schlitz show presents a separate problem for the set designer. For instance, in "Not a Chance," principal Helen Hayes played a spinster who worked in a book shop. For the living room of her apartment, every single piece of furniture and bric-a-brac was chosen to suit the taste that this conserva- tive woman would have—delicate Dresden figures on the shelves, the books, a Victorian mantel, and a sunburst clock. In a more recent vehicle Miss Hayes played her scenes in a middle-class home in Inish, Ireland. The settings for "The Name Is Bellingham," a documen- tary story from the Saturday Evening Post, were laid at the waterfront in Seattle. Nor is it only the land of make- believe that Ostrander's training and imagination have served. When his own headquarters were moved into a Park Avenue mansion, and re- modeling into an office became necessary, it was no chore at all for the set designer. The living room became an in- formal king-sized office, and the ex- COMEDY STARRING ROSALIND RUSSELL ("NEVER WAVE AT A WAC") butler's pantry became a room to demanded a barracks scene. Betty Lynn here enacts the part of Miss house Ostrander's library and files. Russell's sergeant. January 4, 1952 Page Five 4b. THE YOUNG COMEDIAN, Donald "WACKY RABBIT," shown with ROBERT MONTGOMERY seems to O'Connor, is shown above play- his little friend, "Patches," is be happy with te sudden ing the part of director for his NBC net- one bunny who is really proud of his thought that West Coasters can now see work telecast seen on KNBH. (NBC-Ball two front teeth! (NBC-Ball photo.) his "Lucky Strike Theater." photo.) You'll See More On Channel 1- ilk THEY SAY IT'S NO USE crying 4111..- THE YOUNG MAN with the .11be CUTE LUCY KNOCH is Red Skel over spilt milk, but many laugh big smile is "Howdy Doody," ton's able assistant on his Sunday tears when Dean Martin and Jerry Lewis whose fans are legion from coast to night fun-fest, which is moving up in are on the KNBH screen! coast.
Load more

Recommended publications
  • THE MUSEUM of MODERN ART Jl WEST 53 STREET, NEW YORK 19, N
    THE MUSEUM OF MODERN ART jl WEST 53 STREET, NEW YORK 19, N. Y. THfPHONf« CmCU 5-8900 No. 70 FOR RELEASE: August lj 1951* SCHEDULE OP EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12-7 p.m. Adults 60 j: Sundays 1-7 p.m. Children 20 ^ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request AUGUST OPENINGS AND EVENTS Aug. 18 - Sept. 6 THE MODERN MOVEMENT IN ITALY: ARCHITECTURE AND DESIGN. Prepared by the Museum's Department of Circulating Exhibitions, a pictorial analysis of the characteristics of post-war Italian architecture and design. An historical documentation of this influential movement in contemporary art presenting much new and previously unknown material gathered first hand in Italy. First floor. FUTURE EXHIBITIONS AND EVENTS Sept.8 - Nov. 1*4- AMERICAN PRINTS, from the collection of the Museum of Modern Art. An exhibition of 100 original graphic works, selected by William S. Lieberman, Curator. Auditorium Gallery. October 19 OPENING CEREMONIES FOR MUSEUM'S 25th ANNIVERSARY PROC&AM. During the year-long celebration, each of the Museum's departments will present a major exhibition at the Museum. Oct. 20 - PAINTINGS FROM THE COLLECTION OF THE MUSEUM OF MODERN ART - the Jan. 30, 1955 most extensive showing of the Museum's world-famous collection (closes in ever presented, consisting of approximately 300 paintings, from sections: Jan#2, 19th century masterworks to work by young artists from this 16 & 30.) country and abroad, including more than 20 new acquisitions, some of great importance. First, second and third floor galleries.
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]
  • Lacon 1 Film Program
    BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • Using Film to Teach Psychology: a Resource of Film Study Guides
    USING FILM TO TEACH PSYCHOLOGY: A RESOURCE OF FILM STUDY GUIDES Elizabeth M. Nelson, Christian Brothers University (2002 Instructional Resource Award Recipient) Overview This 106-page resource offers instructors tools for using films to enhance their instruction. Student evaluations consistently indicate that films help them learn the topics, provide an alternative to traditional lectures, and give them a different point of view. However, students also say they do not like to view films if they do not understand the relevancy of the film to the course material. This resource gives teachers of psychology additional tools for using film, such as tested study guides, sample syllabi, student papers, references, and Internet resources. The film study guides contained in this resource have been used in a variety of psychology classes, and may be applicable to a variety of other courses. Outline of Contents Introduction How to Use the Study Guides List of Study Guides by Topic and Film/s References Filmography Sample Syllabi Sample Paper ___________________________________ Author contact information: Elizabeth M. Nelson, Ph.D., Christian Brothers University, Department of Psychology, 650 East Parkway South, Memphis, TN 38104 ([email protected]) Copyright 2006 by Elizabeth M. Nelson. All rights reserved. You may reproduce multiple copies of this material for your own personal use, including use in your classes and/or sharing with individual colleagues as long as the author’s name and institution and the Office of Teaching Resources in Psychology heading or other identifying information appear on the copied document. No other permission is implied or granted to print, copy reproduce, or distribute additional copies of this material.
    [Show full text]
  • This Article First Appeared in Vierundzwanzigfteljahrsfchrift Der
    This article first appeared in Vierundzwanzigfteljahrsfchrift der Internationalen Maultrommelvirtuofengenoffenschaft (VIM for short) in issue 6 and is published with the kind permission of Frederick Crane The Trump in the Movies up to 1997 by Frederick Crane If you're like me, there's a little sensor built into your nervous system that, whenever the slightest hint of that unique sound of a trump is detected, in a recording, on radio, on TV, in a movie, switches into full command mode, shutting off all irrelevant signals--other sights and sounds, including whatever pressing matters your spouse is trying to talk to you about--and focuses your entire consciousness on that sound. The utter uniqueness of the trump's sound helps. Guitars, lutes, and mandolins all sound somewhat alike; pipe organs, reed organs, and electronic organs are similar to a degree; but nothing sounds like the trump. Combine such an alertness to the trump's sound with a lifelong compulsion to make files, and you've pretty much got me pegged. What follows is merely the disgorging of the contents of my TRUMP IN THE MOVIES file. I have distributed these ninety-odd films into six categories: Animated Cartoons, Westerns, Modern Rural Settings, Comedy, Drama and Biography, and Documentaries and Instruction. These will be discussed in turn, followed by my conclusions and a checklist of films. Not all of these titles can easily be categorized; I don't guarantee that I've got it right. And there are quite a few films that I have not seen or have seen only in part; the discussion of these will be brief.
    [Show full text]
  • Hollywood Westerns Available on DVD-R, Mpeg2 & Mpeg4 Digital Files
    Hollywood Westerns Available on DVD-R, Mpeg2 & Mpeg4 Digital Files. Abilene Town 1946 Randolph Scott, Ann Dvorak American Empire 1942 Richard Dix, Leo Carillo, Preston Foster. The Big Trees 1952, color Kirk Douglas, Edgar Buchanan. Buckskin Frontier 1943 Richard Dix, Jane Wyatt. Bushwhackers 1952 John Ireland, Wayne Morris, Dorothy Malone. Cry Blood Apache 1970, color Jody McCrea, Joel McCrea. Daniel Boone, Trail Blazer 1957, color Bruce Bennett, Lon Chaney Jr. Deadly Companions 1961, color Maureen O’Hara, Brian Keith, Steve Cochran. Desperate Mission 1969, color Ricardo Montalban, Slim Pickens. Fighting Caravans 1931 Gary Cooper, Lili Damita. Fighting Westerner 1935 Randolph Scott, Ann Sheridan. Four Rode Out 1970, color Sue Lyon, Pernell Roberts. Gatling Gun 1971, color Guy Stockwell, Woody Strode Hanged Man 1974, color Steve Forrest, Dean Jagger. High Lonesome 1950, color John Drew Barrymore. Joshua 1976, color Fred Williamson, Cal Bartlett. Kansas Pacific 1953, color Sterling Hayden, Eve Miller, Barton MacLane. Kid Vengeance 1977, color Lee Van Cleef, Jim Brown. Man From Texas 1948 James Craig, Lynn Bari. Mohawk 1956, color Scott Brady, Rita Gam My Outlaw Brother 1951 Mickey Rooney, Wanda Hendrix. One-Eyed Jacks 1961, color Marlon Brando, Karl Malden. The Outlaw 1943 Jane Russell, Jack Buetel, Thomas Mitchell. Over the Hill Gang 1969, color Walter Brennan, Edgar Buchanan, A. Devine. Over the Hill Gang Rides Again 1970, color Fred Astaire, Walter Brennan, Buchanan. Powderkeg 1971, color Rod Taylor, Dennis Cole. Proud and the Damned 1972, color Chuck Connors, Cesar Romero. Proud Rebel 1958, color Alan Ladd, Olivia de Havilland. Rage at Dawn 1955, color Randolph Scott, Forrest Tucker.
    [Show full text]
  • Part I: 1^0-35 (July 3 - September 30, I966)
    9^ he Museum of Modern Art IWest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart ro. T2A THE THIRTIES: U.S.A, - Part I: 1^0-35 (July 3 - September 30, I966) Screenings: Sundays 2:00 & 5:30 p.m. (unless Mondays 2:00 & 5:30 p.m. otherwise Tuesdays 2:00 & 5:30 p.m. noted) Thursdays 2:00, 5:30, & 8:00 p.m. Fridays 2:00 & 5:30 p.m. Saturdays 11:30 a.m., 3:00 & 5:30 p.m. July 3-^ THE UNHOLY THREE (1930), directed by Jack Conway, with Lon Chaney, Lila Lee^ Elliott Nugent. July 5 DON'T BITE YOUR DENTIST (l^O), produced by Mack Sennett, directed by Edward Cline, with Daphne Pollard, Andy Clyde. An excerpt from THE RUNAROUND (1^1), directed by William J. Craft; an example of two-color Technicolor. SHOVE OFF (1931), directed by Edward Cline, with Karl Dane & George K. Arthur. July T-8 ALL QUIET ON THE WESTERN FRONT (1930), directed by Lewis Milestone, with Louis Wolheim, Lewis Ajnres, Raymond Griffith. July 9-10 THE STRUGGLE (I93I), directed by D. W. Griffith, with Hal Skelly, Zita Johann, Evelyn Baldwin, July 11 MOROCCO (1930), directed by Josef von Sternberg, with Marlene Dietrich, Gary Cooper, Adolphe Menjou. July 12 TROUBLE IN PARADISE (1932), directed by Ernst Lubitsch, with Miriam Hopkins, Herbert Marshall, Kay Francis. July \h See July 12. July 15-16 OUTWARD BOUND (1930), directed by Robert Milton, with Leslie Howard, Douglas Fairbanks, Jr., & Helen Chandler, July 17-18 ONE WAY PASSAGE (1932), directed by Tay Gamett, with William Powell, Kay Francis, Aline MacMahon.
    [Show full text]
  • FICTIONS.Pdf
    Contents Films in alphabetical order of directors p.4 Index by film title p.166-170 Index by director p.172-174 Index by actor/actress p.176-178 Index by film genre p.180-185 Index of short films p.186 Index by country p.189-193 Index by decade p.195-198 Index of films available in HD p.201 Index by festivals and awards p.202-203 3 The story of harmless misfit Josie, the lonely but A like ANIMATION optimistic caretaker of a crumbling petrol station. See pages 8-11 Over the course of a summer, Josie’s world shifts. A teenager comes to work with him. Events spiral. Josie’s life is changed forever. “Calling Garage a ‘small’ film would be true Dominique ABEL, enough, but the Hope diamond, all things Fiona GORDON, Bruno ROMY considered, is awfully small as well. Both in any case, are gems.” Screen THE FAIRY (LA FÉE) HD Cast: Fiona Gordon, Dominique Abel, ADAM & PAUL Philippe Martz, Bruno Romy Cast: Tom Murphy, Mark O’Halloran Belgium - France / 2010 / Colour / 95’ / Drama Ireland / 2004 / Colour / 83’ / Drama Dom works the night shift in a small hotel near the GIJON 2005: BEST ACTOR - MARK O’HALLORAN industrial sea port of Le Havre. One night, a woman & TOM MURPHY (ex aequo) arrives with no luggage and no shoes. Her name is EVENING STANDARD BRITISH FILM AWARD 2006: Fiona. She tells Dom she is a fairy and grants him BEST SCREENPLAY three wishes. Fiona makes two wishes come true Friends since they were small boys, Adam and Paul then mysteriously disappears.
    [Show full text]
  • Poverty Row Films of the 1930S by Robert J Read Department of Art History and Communication Studies
    A Squalid-Looking Place: Poverty Row Films of the 1930s by Robert J Read Department of Art History and Communication Studies McGill University, Montreal August 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy All rights reserved. This work may not be reproduced in whole or in part, by photocopy or by other means, without permission of the author. Robert J Read, 2010. ii Abstract Film scholarship has generally assumed that the low-budget independent film studios, commonly known as Poverty Row, originated in the early sound-era to take advantage of the growing popularity of double feature exhibition programs. However, the emergence of the independent Poverty Row studios of the 1930s was actually the result of a complex interplay between the emerging Hollywood studios and independent film production during the late 1910s and 1920s. As the Hollywood studios expanded their production, as well as their distribution networks and exhibition circuits, the independent producers that remained outside of the studio system became increasingly marginalized and cut-off from the most profitable aspects of film exhibition. By the late 1920s, non-Hollywood independent film production became reduced to the making of low-budget action films (westerns, adventure films and serials) for the small profit, suburban neighbourhood and small town markets. With the economic hardships of the Depression, the dominant Hollywood studios were forced to cut-back on their lower budgeted films, thus inadvertently allowing the independent production companies now referred to in the trade press as Poverty Row to expand their film practice.
    [Show full text]
  • Public Domain Movies
    Public Domain Films 1 Public Domain Movies Public domain films may be re-sold on DVD, shown on TV, in theaters, streamed on the Internet, used for stock footage and many other purposes -- all without paying royalties since the copyrights have long expired. Films are sold on DVD-R or Mpeg2 video files. The Public Domain films and TV shows in the library: 1) Are Clean. They contain no logos or watermarks in the corners. 2) Come with information as to WHY they are in the public domain. 3) DVDs contain no copy guard and are easy to rip and copy. 4) No phony "FBI Warnings" before the start of each film. 5) Quality guarantee. 6) Free replacement of any films not up to our normal high standards. These pages are a partial listing of the Festival Films Library that divides out the Color films and indicates approximate gigabyte size for many films. Read more about the films at the Festival Films Website. Television Shows All are half-hour TV shows, unless noted. Some contain original commercials. All are available on Mpeg2 video files as well as DVD-R. ADVENTURE TV SHOWS -- all are half-hour The Adventures of Robin Hood - 143 episodes 113gb The Adventures of Sir Lancelot - 30 episodes 23.75gb • The Buccaneers - 30 episodes 23.6gb Captain Gallant of the Foreign Legion - 12 episodes 8.86gb • Flash Gordon - 14 episodes 11.45gb Passport to Danger - 13 episodes 11.37gb • Ramar of the Jungle - 24 episodes 19.91gb Rocky Jones, Space Ranger - 20 shows 16.44gb Sergeant Preston of the Yukon - 12 episodes 9.8gb • Sheena, Queen of the Jungle - 16 episodes 13.14gb • Terry and the Pirates - 16 episodes 13.19gb Public Domain Films 2 • • TOTAL = 330 TV shows 264gb c.
    [Show full text]