Billy Wilder GENE Tierney
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hollywood Blacklisting
Hollywood Blacklisting Cierra Hargrove April 27, 2018 !1 Cierra Hargrove Mr. Brant Global Studies 5-27-18 Hollywood Blacklisting In the aftermath of World War II, America was still recovering from the losses of the war along with the rest of the world. Around 1945, The United States entered into a “cold war” with Russia which affected many social and political beliefs within the U.S. Along with a fear of the Soviets, came a great fear of Communism among the government and the people. The government took many actions to prevent the spread of Communism into the United States by investigating any suspicious individuals. Soon many of the allegations surrounded Hollywood and the film industry. Screenwriters, producers, and directors were called to trial and questioned for Communist affiliations.1 These people were blacklisted from the film industry and it destroyed many of their careers. Blacklisting is an example of censorship around the media, the fear of communism in the United States, and an attempt to stand up for basic civil rights. The Hollywood Blacklists were heavily influenced by the “red scare”, and had negative lasting effects on the American motion-picture industry. When World War II ended in 1945 the violent war between the countries was over, but another kind of war began. The two major world powers, America and Russia, were in constant competition with one another for wealth, political power, technological advancements, and dominance among the nations. The basis of this competition came from the ideological 1 History.com Staff. "Hollywood Ten." History.com. 2009. Accessed April 19, 2018. -
Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
CHICAGO JEWISH HISTORY Spring Reviews & Summer Previews
Look to the rock from which you were hewn Vol. 41, No. 2, Spring 2017 1977 40 2017 chicago jewish historical societ y CHICAGO JEWISH HISTORY Spring Reviews & Summer Previews Sunday, August 6 “Chicago’s Jewish West Side” A New Bus Tour Guided by Jacob Kaplan and Patrick Steffes Co-founders of the popular website www.forgottenchicago.com Details and Reservation Form on Page 15 • CJHS Open Meeting, Sunday, April 30 — Sunday, August 13 Professor Michael Ebner presented an illustrated talk “How Jewish is Baseball?” Report on Page 6 A Lecture by Dr. Zev Eleff • CJHS Open Meeting, Sunday, May 21 — “Gridiron Gadfly? Mary Wisniewski read from her new biography Arnold Horween and of author Nelson Algren. Report on Page 7 • Chicago Metro History Fair Awards Ceremony, Jewish Brawn in Sunday, May 21 — CJHS Board Member Joan Protestant America” Pomaranc presented our Chicago Jewish History Award to Danny Rubin. Report on Page 4 Details on Page 11 2 Chicago Jewish History Spring 2017 Look to the rock from which you were hewn CO-PRESIDENT’S CO LUMN chicago jewish historical societ y The Special Meaning of Jewish Numbers: Part Two 2017 The Power of Seven Officers & Board of In honor of the Society's 40th anniversary, in the last Directors issue of Chicago Jewish History I wrote about the Jewish Dr. Rachelle Gold significance of the number 40. We found that it Jerold Levin expresses trial, renewal, growth, completion, and Co-Presidents wisdom—all relevant to the accomplishments of the Dr. Edward H. Mazur* Society. With meaningful numbers on our minds, Treasurer Janet Iltis Board member Herbert Eiseman, who recently Secretary completed his annual SAR-EL volunteer service in Dr. -
How the Mob and the Movie Studios Sold out the Hollywood Labor Movement and Set the Stage for the Blacklist
TRUE-LIFE NOIR How the Mob and the movie studios sold out the Hollywood labor movement and set the THE CHICAGO WAY stage for the Blacklist Alan K. Rode n the early 1930s, Hollywood created an indelible image crooked law enforcement, infected numerous American shook down businesses to maintain labor peace. Resistance The hard-drinking Browne was vice president of the Local of the urban gangster. It is a pungent irony that, less than metropolises—but Chicago was singularly venal. Everything by union officials was futile and sometimes fatal. At least 13 2 Stagehands Union, operated under the umbrella of IATSE a decade later, the film industry would struggle to escape and everybody in the Windy City was seemingly for sale. Al prominent Chicago labor leaders were killed; and not a single (The International Alliance of Theatrical Stage Employees, the vise-like grip of actual gangsters who threatened to Capone’s 1931 federal tax case conviction may have ended his conviction for any criminals involved.Willie Bioff and George Moving Picture Technicians, Artists and Allied Crafts, here- bring the movie studios under its sinister control. reign as “Mr. Big,” but his Outfit continued to grow, exerting Browne were ambitious wannabes who vied for a place at after referred to as the IA). He had run unsuccessfully for the Criminal fiefdoms, created by an unholy trinity its dominion over various trade unions. Mobsters siphoned the union trough. Russian-born Bioff was a thug who served IA presidency in 1932. Bioff and Browne recognized in each Iof Prohibition-era gangsters, ward-heeling politicians, and off workers’ dues, set up their cohorts with no-show jobs, and the mob as a union slugger, pimp, and whorehouse operator. -
Nixon's Caribbean Milieu, 1950–1968
Dark Quadrant: Organized Crime, Big Business, and the Corruption of American Democracy Online Appendix: Nixon’s Caribbean Milieu, 1950–1968 By Jonathan Marshall “Though his working life has been passed chiefly on the far shores of the continent, close by the Pacific and the Atlantic, some emotion always brings Richard Nixon back to the Caribbean waters off Key Biscayne and Florida.”—T. H. White, The Making of the President, 19681 Richard Nixon, like millions of other Americans, enjoyed Florida and the nearby islands of Cuba and the Bahamas as refuges where he could leave behind his many cares and inhibitions. But he also returned again and again to the region as an important ongoing source of political and financial support. In the process, the lax ethics of its shadier operators left its mark on his career. This Sunbelt frontier had long attracted more than its share of sleazy businessmen, promoters, and politicians who shared a get-rich-quick spirit. In Florida, hustlers made quick fortunes selling worthless land to gullible northerners and fleecing vacationers at illegal but wide-open gambling joints. Sheriffs and governors protected bookmakers and casino operators in return for campaign contributions and bribes. In nearby island nations, as described in chapter 4, dictators forged alliances with US mobsters to create havens for offshore gambling and to wield political influence in Washington. Nixon’s Caribbean milieu had roots in the mobster-infested Florida of the 1940s. He was introduced to that circle through banker and real estate investor Bebe Rebozo, lawyer Richard Danner, and Rep. George Smathers. Later this chapter will explore some of the diverse connections of this group by following the activities of Danner during the 1968 presidential campaign, as they touched on Nixon’s financial and political ties to Howard Hughes, the South Florida crime organization of Santo Trafficante, and mobbed-up hotels and casinos in Las Vegas and Miami. -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
The Per Niente Per Niente Club Septembre 1, Due Mila Cinque Volume 1, Issue IX Editor Joe Di Leo
The Per Niente Per Niente Club Septembre 1, due mila cinque Volume 1, Issue IX Editor Joe Di Leo Richard Conte (March 24, 1910 – April 15, 1975) Inside this issue: was an American actor who appeared in films such as I'll Cry Tomorrow and The Godfather. Bread and Onions 2/3 He was born Nicholas Conte in Jersey City, New Jersey, the son of a barber. Mrs Calabash 3 In 1935, Conte was spotted by Elia Kazan and John Garfield when he was working as an entertainer at a Connecticut resort, which led to Conte finding Roy Campanella 4/5 stage work. Conte eventually earned a scholarship to study at the Neighborhood Playhouse in New York, where he became a standout actor. The 5' 8" Maggiore’s Corner 6 Conte became a Broadway actor in the late 30s, starring in such plays as Night Music and Walk Into My Parlor. That lead to his first film performance in 1939, Heaven with a Barbed Wire Fence. Letter’s to the Editor 7 In 1942 he signed a long-term contract with 20th Century Fox. He then changed his The Journey Over 8/9 stage name to Richard. His first film at Fox was Guadalcanal Diary (1943). During the World War II years, Conte played mostly soldiers in war dramas, including A Walk in the Sun (1945). Spiegelman on Golf 10/11 During the World War II years Conte appeared in such Fox crime dramas as Cry of the Grandpa 12 City and Call Northside 777 (both from 1948). In the early 1950s, Conte, now not Pictures 13 working for Fox, began appearing in films for various studios. -
Notes for Where the Sidewalk Ends
IAP Film Series, January 2012: Five Émigré Directors and the Rise of Film Noir SCREENING #6: Where the Sidewalk Ends (96 minutes) Production Company Twentieth Century Fox / Produced by Otto Preminger US Release 7 July 1950 (New York) Director Otto Preminger: He was born in 1905, probably in a Ukrainian region of the Austro- Hungarian Empire, but possibly in Vienna; his family were middle-class Jews. His father became a leading prosecutor for the government, and the family relocated to Vienna in 1915. Otto studied law at the University of Vienna and got his degree in 1928; but by then he had begun a career in the theater, at first under the tutelage of Max Reinhardt. Starting as an actor (of moderate success), he moved into directing and also directed a few German-language films in the early 1930s. In 1935 he was invited by producer Joseph Schenck to come work at Fox in the USA, to which he agreed. Arriving in New York in 1936, he stopped off to direct a play, then went on to Hollywood. His work at Fox came to an abrupt halt in 1938, when he was fired by Zanuck while directing the “A-List” film Kidnapped. So he studied English and resumed a career directing plays in New York and elsewhere. He was called back to Fox in 1942, originally to act in various films. In 1944 he was hired by Zanuck to produce the controversial film version of Laura, eventually becoming its director. The success of this “scandalous” film noir led to his being hired to direct (and often to produce) 13 more films at Fox—the fine film Where the Sidewalk Ends being the next to last. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Tamarkan Convalescent Camp Sears Eldredge Macalester College
Macalester College DigitalCommons@Macalester College Book Chapters Captive Audiences/Captive Performers 2014 Chapter 5. "The aT markan Players Present ": Tamarkan Convalescent Camp Sears Eldredge Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/thdabooks Recommended Citation Eldredge, Sears, "Chapter 5. "The aT markan Players Present ": Tamarkan Convalescent Camp" (2014). Book Chapters. Book 17. http://digitalcommons.macalester.edu/thdabooks/17 This Book is brought to you for free and open access by the Captive Audiences/Captive Performers at DigitalCommons@Macalester College. It has been accepted for inclusion in Book Chapters by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. 152 Chapter 5: “The Tamarkan Players Present” Tamarkan Convalescent Camp It was early December 1943 when Brigadier General Arthur Varley and the first remnants of A Force from Burma arrived at their designated convalescent camp in Tamarkan, Thailand, after a long journey by rail. As their train traversed the wooden bridges and viaducts built by their counterparts, they passed the construction camps where the POWs in Thailand anxiously awaited their own redeployment back to base camps. When they entered Tamarkan, they found a well-ordered camp with a lean-to theatre left by the previous occupants. Backstory: October 1942–November 1943 Tamarkan was “the bridge camp”—the one made famous by David Lean’s film The Bridge on the River Kwai, based on the novel by Pierre Boulle.i There were, in fact, two bridges built at Tamarkan: first a wooden one for pedestrian and motor vehicle traffic that served as a temporary railway trace until the permanent concrete and steel railway bridge could be completed just upriver of it. -
Movie's Secret Friiter May Be Recognized 0.5T-71
the House Committee on un-Arnencan Activities investigation of communist influence in Hollywood. Movie's Secret Like many other screenwriters of that era, Maltz had to resort to finding someone to front for him when Blaustein asked him to write the screenplay for "Broken Arrow," based on "Blood Brothers," a friiter May novel by Elliott Arnold. After several people turned Maltz down, he approached his close friend, Michael Blankfort, also a screenwriter and novelist. They had known each Be Recognized other for decades and had dedicated novels to each 0.5T-71 other. s Angeles Times Blankfort agreed to pretend he had written HOLLYWOOD—Six years ago, at a ceremony "Broken Arrow." And unlike the character played by at the Academy of Motion Picture Arts and Sci- Woody Allen in the 1976 movie "The Front," he not ences, blacklisted screenwriters Michael Wilson and only let his name be used for free but also provided Carl Foreman were posthumously awarded Oscars the revisions the studio demanded. Blaustein said for "The Bridge on the River Kwai." that he secretly ran Blankfort's changes by Maltz. It had been an wet secret that Pierre Boulle, If this (arrangement] had gotten out, it would who accepted the original Oscar in 1958, did not have killed the careers of both Blankfort and Blaus- write the screenplay based on his novel. "Everyone tein," Ceplair said. knew Boulle couldn't speak English, let alone write Maltz's widow, Esther, agrees. "It was an act of it," said Larry Ceplair, co-author of "The Inquisition courage and it was an act of friendship," she said.