DOCSLIB.ORG

George Balanchine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
George Balanchine Zorina): George Balanchine. Medv.: Vera Zorina, Erich von Stroheim, Richard Greene, Peter Lorre, Sig Ruman, Fritz Feid, Cora Witherspoon, An­ thony Kemble Cooper, Paul Porcasi, Ineé Pa- lange, Egon Brecher og Roger Imhof. Prod.: F Fox, Nunnally Johnson. Star Spangled Rhythm (Gutter på Landlov). U.S.A. 1942. I: George Marshall. M: Harry Tugend. Sketches af George Kaufman, Arthur Ross, Mel­ vin Frank og Norman Panama. Foto: Leo Tover og Theodor Sparkuhl. Klipning: Arthur Schmidt. Dekorationer: Hans Dreier og Ernst Fegte. Mu­ sik: Robert Emmett Dolan. Tekster: Johnny Mer- GEORGE BALANCHINE cer og Harold Arlen. Danse: (Black Magic-num- Dark Red Roses. England 1929. I: Sinclair Hiil. M: meret med Vera Zorina): George Balanchine. Stacy Aumonier. Danse: George Balanchine. Medv.: Bing Crosby, Ray Milland, Vera Zorina, Medv.: Anton Dolin, Lydia Lopokova og Frances Eddie Bracken, Bob Hope, Victor Moore, Mary Double. Optaget i Wimbledon, London. Martin, Veronica Lake, Fred MacMurray, Do- The Goldwyn Follies (Goldwyn Follies). U.S.A. rothy Lamour, Dick Powell, Alan Ladd, Fran­ 1938. I: George Marshall. M: Ben Hecht. Foto: chot Tone, Paulette Goddard, Betty Hutton, Ro­ Gregg Toland. Klipning: Sherman Todd. Deko­ chester, William Bendix, Susan Hayward, Lynne rationer: Richard Day. Musik: George Gershwin. Overman, Cass Daley, Walter Catlett, Jerry Co- Tekster: Ira Gershwin. Dirigent: Alfred New- lonna, Marjorie Reynolds, Gary Crosby, Ernest man. Danse (Romeo og Julie-ballet, Water-Lily- Truex, Sterling Holloway, Macdonald Carey, ballet med Vera Zorina og Metropolitan-Operaens Betty Rhodes, Johnnie Johnston, Katherine Dun­ ballet): George Balanchine. Medv.: Adolphe ham, Walter Abel, Dona Drake, Gil Lamb, Menjou, The Ritz Brothers, Vera Zorina, Kenny Arthur Treacher, Cecil B. DeMille, Preston Baker, Andrea Leeds, Helen Jepson, Phil Baker, Sturges, Ralph Murphy, Anne Revere, Edward Ella Logan, Bobby Clark, Jerome Cowan, Ny­ Fielding, Edgar Dearing, William Haade, May- dia Westman, Charles Kuliman, Frank Shields, nard Holmes, James Mallican, Eddie Johnson, Edgar Bergen og Charlie McCarthy. Prod.: Sa­ Slim and Sam, Walter Wahl og Golden Gate muel Goldwyn. Quartette. Prod.: Paramount, Joseph Sistrom. On Your Toes (Tossede Mennesker). U.S.A. 1939. Dance Concertante. U.S.A. 1942—43. Musik: Igor I:Ray Enright. M: Jerry Wald og Richard Ma- Stravinsky. Koreograf: George Balanchine. Medv.: caulay efter Richard Rodgers og Lorenz Hart. Ballet Russe (Daniela von Franklin og Maria Foto: James Wong Howe. Klipning: Clarence Tallchief). Privat produceret og optaget i New Koister. Dirigent: Leo F. Forbstein. Danse York. (La Princesse Zenobia-ballet, Slaughter on Tenth Eligie. U.S.A. 1942—43. Musik: Igor Stravinsky. Avenue med Vera Zorina): George Balanchine. Koreograf: George Balanchine. Medv.: Ballet Medv.: Vera Zorina, Eddie Albert, James Glea- Society of New York. Privat produceret og op­ son, Alan Hale, Frank McHugh, Leonid Kinsky, taget i New York. Gloria Dickson, Queenie Smith, Erik Rhodes, Western Symphony. Frankrig 1956. I: George Balan­ Berton Churchill, Sarita Wooten og Donald chine. Musik: Hershey Kay. Koreograf: George O’Connor. Prod.: Warner Brothers. Balanchine. Medv.: New York City Ballet (Me- I was an Adventuress. U.S.A. 1940. I: Gregory Ratoff. lissa Hayden, Nicholas Magallenes, Robert Bar­ M: Karl Tunberg, Don Ettlinger og John O’Hara nett, Diana Adams, Herbert Bliss, Tanila Le- efter Gregor Rabinovitsch. Foto: Leon Shamroy Clercq og Arthur Mitchell). Prod.: United States og Edward Cronjager. Klipning: F. D. Lyon. Information Service, Den Amerikanske Ambas­ Danse (udsnit af „Le Lac de Cygnes" med Vera sade i Paris. Længde: 30 minutter. Fra „Slaughter on Tenth Avenue“ i „On Your Toes". 152.
Load more

Recommended publications
  • Women, Gender, and Music During Wwii a Thesis
    EDINBORO UNIVERSITY OF PENNSYLVANIA PITCHING PATRIARCHY: WOMEN, GENDER, AND MUSIC DURING WWII A THESIS SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF HISTORY, POLITICS, LANGUAGES, AND CULTURES FOR THE DEGREE OF MASTER OF ARTS SOCIAL SCIENCES-HISTORY BY SARAH N. GAUDIOSO EDINBORO, PENNSYLVANIA APRIL 2018 1 Pitching Patriarchy: Women, Music, and Gender During WWII by Sarah N. Gaudioso Submitted in Partial Fulfillment of the Requirements For the Master of Social Sciences in History ApprovedJjy: Chairperson, Thesis Committed Edinbqro University of Pennsylvania Committee Member Date / H Ij4 I tg Committee Member Date Formatted with the 8th Edition of Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations. i S C ! *2— 1 Copyright © 2018 by Sarah N. Gaudioso All rights reserved ! 1 !l Contents INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 5 CHAPTER 2: WOMEN IN MUSIC DURING WORLD WAR II 35 CHAPTER 3: AFRICAN AMERICAN WOMEN AND MUSIC DURING THE WAR.....84 CHAPTER 4: COMPOSERS 115 CHAPTER 5: CONCLUSIONS 123 BIBLIOGRAPHY 128 Gaudioso 1 INTRODUCTION A culture’s music reveals much about its values, and music in the World War II era was no different. It served to unite both military and civilian sectors in a time of total war. Annegret Fauser explains that music, “A medium both permeable and malleable was appropriated for numerous war related tasks.”1 When one realizes this principle, it becomes important to understand how music affected individual segments of American society. By examining women’s roles in the performance, dissemination, and consumption of music, this thesis attempts to position music as a tool in perpetuating the patriarchal gender relations in America during World War II.
    [Show full text]
  • 1950S Playlist
    1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA
    [Show full text]
  • The Digital Deli Online - List of Known Available Shows As of 01-01-2003
    The Digital Deli Online - List of Known Available Shows as of 01-01-2003 $64,000 Question, The 10-2-4 Ranch 10-2-4 Time 1340 Club 150th Anniversary Of The Inauguration Of George Washington, The 176 Keys, 20 Fingers 1812 Overture, The 1929 Wishing You A Merry Christmas 1933 Musical Revue 1936 In Review 1937 In Review 1937 Shakespeare Festival 1939 In Review 1940 In Review 1941 In Review 1942 In Revue 1943 In Review 1944 In Review 1944 March Of Dimes Campaign, The 1945 Christmas Seal Campaign 1945 In Review 1946 In Review 1946 March Of Dimes, The 1947 March Of Dimes Campaign 1947 March Of Dimes, The 1948 Christmas Seal Party 1948 March Of Dimes Show, The 1948 March Of Dimes, The 1949 March Of Dimes, The 1949 Savings Bond Show 1950 March Of Dimes 1950 March Of Dimes, The 1951 March Of Dimes 1951 March Of Dimes Is On The Air, The 1951 March Of Dimes On The Air, The 1951 Packard Radio Spots 1952 Heart Fund, The 1953 Heart Fund, The 1953 March Of Dimes On The Air 1954 Heart Fund, The 1954 March Of Dimes 1954 March Of Dimes Is On The Air With The Fabulous Dorseys, The 1954 March Of Dimes Is On The Air, The 1954 March Of Dimes On The Air 1955 March Of Dimes 1955 March Of Dimes Is On The Air, The 1955 March Of Dimes, The 1955 Pennsylvania Cancer Crusade, The 1956 Easter Seal Parade Of Stars 1956 March Of Dimes Is On The Air, The 1957 Heart Fund, The 1957 March Of Dimes Galaxy Of Stars, The 1957 March Of Dimes Is On The Air, The 1957 March Of Dimes Presents The One and Only Judy, The 1958 March Of Dimes Carousel, The 1958 March Of Dimes Star Carousel, The 1959 Cancer Crusade Musical Interludes 1960 Cancer Crusade 1960: Jiminy Cricket! 1962 Cancer Crusade 1962: A TV Album 1963: A TV Album 1968: Up Against The Establishment 1969 Ford...It's The Going Thing 1969...A Record Of The Year 1973: A Television Album 1974: A Television Album 1975: The World Turned Upside Down 1976-1977.
    [Show full text]
  • Budget Cuts Spare School Programs W Here the Beaches
    MAY 25, 1994 40 CENTS VOLUME 24, NUMBER 21 Budget cuts spare school programs assessed at BY LAUREN JAEGER $ 1 20,000 Staff W riter would see an total of $810,000 was cut increase of from the defeated 1994-95 $156, to a A Matawan-Aberdeen proposed total tax of school budget. $2,402. As required by law, the councils of Before the Matawan and Aberdeen met last week, Cuts were along with the regional board of educa­ made, the rate tion, to amend the defeated budget, was $2 .10 for which originally proposed $33,532,113 A b e r d e e n ; in current expense and $28,926 in capital 2.05 for outlay. M ataw an — The new school tax rate will be $2.05 translating to a Brian Murphy per $100 assessed value for Aberdeen yearly tax rate residents, and $2.01 per $100 of assessed on a $120,000 property of $2,530 for an home value for Matawan residents. Aberdeen homeowner and $2,460 for In other words, this means that an M atawan homeowner. Marlboro High School’s Amy Feaster (gold jersey) and Middletown North’s Aberdeen resident with a home assessed Matawan’s Mayor Robert Shuey was Ann Marie Sacco hook up in a battle for the ball during a Shore at $ 120,00 would see an increase in the pleased by what he said was a smooth Conference A North Division soccer match won by the Mustangs, 2-1, on school tax rate of $95, bringing the bill meeting between the three parties and May 18 in Marlboro.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • PAJ77/No.03 Chin-C
    AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
    [Show full text]
  • West Side Story"
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 5-6-2014 12:00 AM Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story" Andrew M. Falcao The University of Western Ontario Supervisor Paul Coates The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Andrew M. Falcao 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Falcao, Andrew M., "Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story"" (2014). Electronic Thesis and Dissertation Repository. 2091. https://ir.lib.uwo.ca/etd/2091 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. TRAGEDY, ECSTASY, DOOM: MODERNIST MOODS OF “WEST SIDE STORY” (Thesis format: Monograph) by Andrew Michael Falcao Graduate Program in Global Film Cultures A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Andrew M. Falcao 2014 i Abstract This thesis looks to reposition West Side Story (Jerome Robbins/Robert Wise, 1961) as an example of (neo-)modernist art. Placing the film within its context of Hollywood musicals, I see West Side Story as a particularly rich locus in which to study the genre’s modernist impulses.
    [Show full text]
  • Jimmy Durante Papers PASC-M.0195
    http://oac.cdlib.org/findaid/ark:/13030/c8cv4m1z No online items Finding Aid for the Jimmy Durante Papers PASC-M.0195 Finding aid prepared by Alexandra Apolloni; machine-readable finding aid created by Julie Graham and Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2021 January 19. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Jimmy Durante PASC-M.0195 1 Papers PASC-M.0195 Contributing Institution: UCLA Library Special Collections Title: Jimmy Durante papers Creator: Durante, Jimmy Identifier/Call Number: PASC-M.0195 Physical Description: 150 Linear Feet(342 boxes) Date (inclusive): circa 1920s-circa 1990 Abstract: Jimmy Durante had a decades-long career as a musician, songwriter, comedian, and actor. The collection consists of script material, scrapbooks, photographs, written music, audio recordings, printed material and ephemera, and a small amount of correspondence documenting Durante's extensive career as an entertainer on stage, radio, film, and television. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels.
    [Show full text]
  • 1 Ounger Oses U by Margin of 152
    I • l w.,lrt~Wsgt\-~u~dcf1 Attond the Ingham County Fair at Mason, August 16-21 Wlnnar of 1954 Michigan Press The lngha,m County Ne Ganor11l Excollanco Award Ninetv·Fifth Year, No. 31 Mason, Michigan, Thursday, August 5, 1954 I 4 Sections - 24 Pages iVmvs Index City Will Pay Wunl ad:,, Po~geb 1], :i unrl li, ln~hamBackingi·Citamberlain ,Pr~vides Re~ublican Up~e~ y L Q t 1'1111 I. :·:of'! ill 111'\Vfi, Pdgl' a, Pnt·t 1; Fa1ls Half of Curb l'IIJ-:'1' I, l'.tl'l 2 to Save .,. · 1 ounger OSeS U 1'111111 II new:;, Page 5, Part 2. J•:dllorfllls, I'IIHI! 1, Purl 4. On Boulevard 1 !,11l'fl1 111'\.V,I.J, PdJ:f'B 2, :~ Hlld Mason properly ow 11 e t· H ·I, l'a11 I. ~;""~~~~.,,!~~h~V~" By Margin of 152, I .l•glll not I<'PS, I 'agP li, I'm t throughout the city will pay I; I 'o~l:~' li, 1'1111 :1; !'age~ 5 unci half of the curb ami gttl It' I' li, I'm 1 11, el'nm·n~.~.:~r~~o;~~Jl~)~;fnaWon~~~·I~g~: 'fuesrlny. J3mlw clidn' I Parker Is nner costs ott II all bott Jevm·cl. In 1111 wl· fare so well cl:wwhcJ'P, nnrl unprecedented mow, the city Donald S. Leonard, formm· council spli I. on a !i-1 vnt e I o Judge Is Hearing state pollee commissjonPt', In light voting •rueRdny, Charles E. Challlbcrlain ap­ let the city at htt'J~C pay $0,- won the race with 7iJ,OOO votes to the Owen parently dc!feaferl Paul C.
    [Show full text]
  • Interpreting Musical Structure Through Choreography in Gershwin's
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music.
    [Show full text]
  • Wallace Berry Market All Registered Men CORRECTION ;"' If Last Week , We Were Informed A
    V I - ' ' i c VV -r ... 0 TT- n TTlTTr T 1 1 41 M il ' NflT J ...... X Z ...... i n n r "5L v J ft.M Dm "0JLUJIJJU Vafit Vol. 11 Kenansville,' N. C. Friday Apr. 30, 1943 No. 17 Announce Revised PRISONER Duplin Boys Complete MIKITY BRIEFS oforians Classification for Airplane Mechanics Job Wallace Berry Market All Registered Men CORRECTION ;"' If Last week , we were informed A. my Air Base, Lincoln, Neb. Attend Disti Paul V. McHutt, War Manpow that Miss Hazel Carter of War- Pfc. Erwin G. Sloan, son of Mr Is Short er Commissioner has anonounced saw had been promoted to Mana- and Mrs. Keith G. Sloan of Calyp- Opens; Crop the revised classifications for all ger of the Sanford telephone office. so N. C. and Pfc. Ben F. Smith, men are registered Manager son of Mr; and Mrs. who under the Morris of Warsaw states Johnie Rose Hill To Open Mon- eeiing selective service act as folows.' that this was a mistake. Sen is Smith of Pink Hill, N. C, have Major Sutton is 1 1-- A Avaiable for military ser doing special graduated from an intensive cour- work there. Will Op- vice. : CORRECTION " . se in airplane mechanics and now Cutting the Stills day; Warsaw Purchase Registered Bull; -9 Conscientuous objector Looks like we are In for a 'lot are prepared to blast the Axis. available for mlli of corrections this week. Last They are now full fledged air- en Soon tary service. ...... week the Times was informed plane mechanics, and eligible to .
    [Show full text]
  • The Museum of Modern Art Department of Film
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART THE ARTS FOR TELEVISION an exhibition organized by The Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam THE ARTS FOR TELEVISION is the first major museum exhibition to examine television as a form for contemporary art : television as a gallery or theater or alternative space, even television as art . An international selection of artworks made for broadcast, the exhibi- tion documents the crossovers and collaborations that take place on this new television, between and among dancers, musicians, play- wrights, actors, authors, poets, and visual and video artists . And it investigates the artists' own investigation of one medium -- be it dance or music or literature -- through another . It examines the transformations video makes and the possibilities it allows . These provocative uses of television time and technology are organized in THE ARTS FOR TELEVISION according to the medium transformed by the electronic image ; the six categories are Dance for Television, Music for Television, Theatre for Television, Literature for Television, The Video Image (works that address video as a visual art, that make reference to the traditional visual arts and to seeing itself), and Not Necessarily Television (works that address the usual content of TV, and transform it) . The ARTS FOR TELEVISION also presents another level of collaboration in artists' television . It documents the involvement of television stations in Europe and America with art and artists' video . It recognizes their commitment and acknowledges the risks they take in allowing artists the opportunity to realize works of art .
    [Show full text]