2019 CASA Sponosrship Electronic

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6th ANNUAL GALAHONORING Justice Leticia Hinojosa SATURDAY, AUGUST 10th | 7pm TO MIDNIGHT LEGACY EVENT CENTER | 4610 S. JACKSON RD., EDINBURG, TX 78539 SILENT AUCTION • DANCE • LIVE MUSIC • DINNER • $125 INDIVIDUAL TICKET PRICE FOR TICKET & SPONSORSHIP INFORMATION PLEASE CALL CASA OF HIDALGO COUNTY INC. AT (956) 381-0346 HUMPHREY BOGART SPONSOR • Prominent Company Logo on all Pre-Event Promotions • 1 Page Ad in Program $7,000 • Prominent Company Logo on Photo Backdrop • Recognition in Press Release for CASAblanca Event • Table Signage • Two Reserved VIP Sponsor Tables for 20 Guests INGRID BERGMAN SPONSOR • Prominent Company Logo on all Pre-Event Promotions • 1/2 Page Ad in Program $5,000 • Prominent Company Logo on Photo Backdrop • Recognition in Press Release for CASAblanca Event • Table Signage • One Reserved VIP Sponsor Tables for 10 Guests All sponsorships include company logo on website PETER LORRE SPONSOR and social media • 1/4 Page Ad in Program $2,500 • Company Logo on Photo Backdrop If unable to sponsor • Table Signage this year, please • 6 Tickets to CASAblanca Event consider: $125/Ticket PAUL HENREID SPONSOR • Company Logo in Program $1,000 • Company Name Listed on Photo Backdrop • Table Signage Join us for • 4 Tickets to CASAblanca Event a fun evening! CLAUDE RAINS SPONSOR BYOB $500 • Company Name Listed in Program • 2 Tickets to CASAblanca Event SPONSORSHIP REGISTRATION SPONSOR INFORMATION Company Name: Contact Name: Phone: Email: Address: City: State: Zip Code: SPONSORSHIP LEVEL Please see attached sponsorship levels for recognition information. $7,000 HUMPHREY BOGART $5,000 INGRID BERGMAN $2,500 PETER LORRE $1,000 PAUL HENREID $500 CLAUDE RAINS $125 Single Ticket Amount of single tickets Total $ I cannot attend, but please accept my donation of $ METHOD OF PAYMENT Check (payable to CASA of Hidalgo County, Inc.) Check No. Credit Card American Express VISA MasterCard Discover Cardholder’s Name: Billing Address: City: State: Zip Code: Credit Card No. Exp: CSV: Please return this form to CASA of Hidalgo County, Inc., Attn: Veronica Whitacre, Executive Director 1001 South 10th Ave., Edinburg, TX 48539 | (956) 381-0346 | C. (956) 607-4110 | F. (956) 381-9232 6th ANNUAL GALA BENEFITING OUR VISION A safe, permanent, loving home for every child. OUR MISSION The mission of CASA of Hidalgo County, Inc. is to speak for the best interests of the children in the courts by promoting and supporting quality volunteer representation to provide each child a safe, permanent, nurturing home. 1001 S 10th Ave., Edinburg, TX 78539 | (956) 381-0346 casaofhidalgo.com.

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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
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Download Exhibtion Leaflet
FILM AS SUBVERSION Amos Vogel – the First Century “Seeing films is not a passive experience, but a way of thinking.” With his provocative assertion of film as a subversive art, Amos Vogel violently challenged the “Subversion in cinema starts when the theater darkens and the screen lights up.” common understanding of film, championing a cinematic cosmos rich with disapproved, forgotten, defiant and censored works. In 2021, this figurehead of curatorial rebelliousness Amos Vogel was born on April 18, 1921 in Vienna as Amos Vogelbaum. He had to flee from would have celebrated his centenary. Austria in 1938 and reached New York via Havana. He lived in New York City until his death on April 24, 2012. Vogel was the founder and curator of Cinema 16 (1947–1963), one of the most “In the last analysis, every work of art, to the extent that it is original and breaks significant film societies in the USA focusing on independent cinema. Together with Richard with the past instead of repeating it, is subversive.” Roud, he founded and programmed the New York Film Festival (1963–1968) emphasizing contemporary avant-garde cinema. Vogel is the author of the provocative book Film as a Subversive Art (1974) and was professor of Film Studies at the Annenberg School for The Austrian Film Museum pays tribute to the Vienna-born Vogel through a series of events Communication at the University of Pennsylvania for more than two decades. Until his old age taking place throughout the year: The Amos Vogel Atlas charts a map of Vogel’s notion of he remained active as a lecturer, critic and consultant for numerous international film festivals.
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HAVE GERMAN WILL TRAVEL FEIERTAG "Bei uns ist immer was los!" AUSTRIAN-AMERICAN DAY Austrian American Austrian American Austrian Americans (German: Austroamerikaner) Austro-Amerikaner are European Americans of Austrian descent. According to the 2000 U.S. census, there were 735,128 Americans of full or partial Austrian descent, accounting for 0.3% of the population. The states with the largest Austrian American populations were New York (93,083), California (84,959), Pennsylvania (58,002) (most of them in the Lehigh Valley), Florida (54,214), New Jersey (45,154), and Ohio (27,017)_[2] This may be an undcrcount, as many German Americans have ancestors from AustTia, the Austrian Empire or the Austro-Hungarian Empire. Before World War I, by which time a large percentage of Germans had immigrated to the United States, Austrians were often categorized as German people, largely because of their shared cultural-linguistic and ethnic origin Fred Astaire • Arnold Schwarzenegger • Wolfgang Pauli and Austria being one of many historical German Hedy Lamarr • Maria von Trapp • Fritz Lang states of the Holy Roman Empire of the German Joe Mauer • Peter Lorre • Josef von Sternberg Nation. Billy W ilder • Alma Mahler-Wetfel • Otto Prenlinger • Max Reinhardt Total population Regions with significant populations New York, California, Pennsylvania, Florida, New Jersey Austrian 735,128 Americans Languages 0.3% oftbc U.S. population German (especially Austrian German), American English Religion Roman Catholic, Protestant; Jewish and other minorities Assimilation The Austrian immigrants adapted quickly to American society, because the Austrian Empire had also been a melting pot of many cultures and languages.
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Finding Aid for the Fritz Lang Collection
Finding Aid for the Fritz Lang Collection Special Collections #4 Collection Processed by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg, 10.18.18 Finding Aid Written by: Sarah Blankfort Clothier, 9.10.12 Revised, Emily Wittenberg,10.18.18 OVERVIEW OF THE COLLECTION: Origination/Creator: Lang, Fritz Title of Collection: Fritz Lang Collection Date of Collection: 1934 -- 1953 Physical Description: 19 boxes; 7.92 linear feet Identification: Special Collection #4 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Michael Nesmith in 1990. BIOGRAPHICAL/HISTORY NOTE: Fritz Lang was a noted filmmaker who immigrated to Hollywood via France during WWII in 1934, in protest against the Nazi regime, becoming a United States citizen in 1939. Lang was born Friedrich Christian Anton Lang in Vienna, Austria, on December 5, 1890 to parents Anton and Paula Lang. He briefly attended the Technical University of Vienna where he studied civil engineering before switching to art; he studied painting under teachers in Vienna, Munich, and Paris. In WWI Lang served in the Austrian Army where he was wounded three times and decorated four times while fighting in Russia and Romania. His German Expressionist films, including METROPOLIS (1927) and M (1931), are considered precursors to the film noir style of filmmaking that was popular in Hollywood from the early 1940s to late 1950s. Upon his move to the United States, Lang was employed at Metro- Goldwyn-Mayer Studios (M-G-M), where he rose to prominence by directing FURY (1936).
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DOUBLE INDEMNITY Self - Guided Movie Location Tour Compiled by Jean Laughton MOTION PICTURE DAILY Review Double Indemnity by Milton Livingston April 24, 1944 Paramount’s “Double Indemnity” rings the bell as a top-notch splendidly acted and brilliantly directed hard-bitten melodrama which packs unusual moments of gripping suspense. It is grade A film fare for the devotees of murder melodrama, with exhibitors provided with the box-office draw of Fred MacMurray, Barbara Stanwyck and Edward G. Robinson in selling to other customers. Without question it is one of the best films of this class, and full credit for making it so good to the director Billy Wilder. (1st paragraph) Filmed Sept 27, 1943 - Nov 24, 1943 Depicting 1938 Los Angeles with some retakes in Dec & Jan due to scratches in the Negative Filmed During WWII “Dim Out” Premiered in Los Angeles Theaters August 10, 1944 @ Grauman’s Chinese / Fox Wilshire Beverly Hills Fox Uptown Theater @ Western & Olympic / Loew’s State Theater Downtown MEMO AUG 14, 1943 WAIVER FROM SCREEN ACTORS GUILD The Guild will grant a waiver to Paramount Pictures, Inc. to photograph a Los Angeles Railway electric welder and his assistant working on the right-of-way of the above Company at 5th and Olive Streets, Los Angeles. In their production “Double Indemnity’, Director Wilder, for one day only, August 14, 1943. It is understood that they will do no bits, parts, stunts or dialogue, and that the granting of this waiver does not create a precedent 1. The tour begins DOWNTOWN: W 5th ST & S Olive ST The Opening Scene of Double Indemnity Stand on 5th Street below Olive w/ Pershing Sq & Biltmore Hotel on your Left - Look up 5th St.
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Filmmakers from Berlin and Vienna Exiled in Hollywood
Migration and artistic identities Filmmakers from Berlin and Vienna exiled in Hollywood Laure SCHNAPPER ABSTRACT The symbiosis of European and American cultures enabled Hollywood to produce the greatest masterpieces of cinema, as filmmakers from Berlin and Vienna, during the 1930s in particular, brought their know-how and culture, which they adapted to their new environment. German expressionism, psychoanalysis and Viennese humour contributed to film noir, light and serious comedy, melodrama and the Western. Poster for the film Casablanca, directed by Michael Curtiz, starring Ingrid Bergman, Paul Henreid, Conrad Veidt and Peter Lorre, 1942. During the 1920s, German cinema showed the way for modernity, as the UFA (Universum Film AG) studio in Berlin- Tempelhof, the largest and most advanced in Europe, brought together the greatest talents, including the producer Erich Pommer, and the directors Fritz Lang and Ernst Lubitsch. The great Hollywood studios, which had offices in Berlin, sought to attract the most talented directors; for instance in 1922, Paramount brought Ernst Lubitsch (1892-1947), who became the uncontested master of the elegant American comedy, and the famous “Lubitsch touch,” but who also released a biting satire of Nazi Germany in To Be or Not to Be. Universal brought in William Wyler (Wilhelm Weiller) (1902-1981) that same year, Warner called on the Hungarian Michael Curtiz (1886-1962) in 1926, and Fox gave a contract to Wilhelm Murnau (1888-1931) in 1927. Passed over by both Vienna and Berlin, Curtiz directed a series of masterpieces in America that have subsequently become classics, notably with the actor Errol Flynn, who starred in Captain Blood in 1935 and especially in The Adventures of Robin Hood in 1938.
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HOUSE on HAUNTED HILL (1959) HOUSE of WAX (1953) Was a Stepping Stone in Vincent Price’S Career Path Towards Being a Horror Star
HOUSE ON HAUNTED HILL (1959) HOUSE OF WAX (1953) was a stepping stone in Vincent Price’s career path towards being a horror star. A second step along the way was THE FLY (1958), although he played the “straight” role, the brother of the man who got his head switched with a ﬂy. Producer/director William Castle made a coup when he cast Vincent in HOUSE ON HAUNTED HILL (1959). It was probably at this point that Vincent became a commodity in the horror genre. His character in HAUNTED HILL crystallizes the whole “Vincent Price Persona” – urbane, sophisticated, utilizing his smooth-as-velvet voice to convey menace, and tossing out sly comments on the macabre goings-on as they occur. The plot has Vincent playing an eccentric millionaire (really, is there any other kind?) who rents a haunted house for an evening so he and his wife can have a party. If the guests survive the night, which given the house’s history, is questionable, they will each be given a reward of $10,000, which was mega-bucks in 1959. Just to boost the odds against their survival, all of the guests are given a gun as a party favour, which of course increases the chances of someone in a panic shooting another guest. Sounds like fun, right? Price exchanges barbed quips with his wife. It’s clear they both hate each other. The movie takes a pretty dim view of marriage, like a low-rent version of “Who’s Afraid of Virginia Woolf?”, if George and Martha lived in a haunted house.
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The A.I.P. Beach Movies - Cult Films Depicting Subcultural Activities Andrew Caine, University of Sunderland, UK
The A.I.P. Beach Movies - Cult Films Depicting Subcultural Activities Andrew Caine, University of Sunderland, UK The legendary Annette Funicello sings six songs from the AIP cult movie [Beach Party], along with six other sand-dusted ditties of equal inconsequence. Marvellous junk and, if nothing else, an artefact of the era when the leather-clad Eric Von Zipper ruled Southern California's beaches as no-one else has, before or since. (Dellar, 1997: 122) Describing "Annette's Beach Party" by Annette Funicello, the companion soundtrack album to Beach Party (1963), rock critic Fred Dellar associated this product of 1960s surfing culture with cult fandom. Significantly, the extract originates from the "nuggets", i.e. collectors page of the music magazine Mojo, itself a publication aimed primarily at dedicated enthusiasts of "classic rock". An original HMV mono copy of the album costs an estimated £40; an expensive sum for a star who never achieved a hit in Britain. The extract's actual wording also locates the film and Funicello within discourses on cult fandom, placing the movie and album within a specific historical context. Her music and films represent a bygone era, eminently of potential interest for the collectors and readers of Mojo. Moreover, Dellar's review contains a contradictory, love-hate tone. Funicello might be "legendary", but her music and films are effectively treated as entertaining kitsch of minimal artistic merit: surely it is paradoxical to write about "marvellous junk"? Other writers also assume that the A.I.P. (American International Pictures) beach movies belong within the broad generic category of cult movies.
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The Maltese Falcon Richard T. Jameson “The A List: The National Society of Film Critics 100 Essential Films, ” 2002 Reprinted by permission of the author In 1539, the Knight Templars of Malta, paid trib- ute to Charles V of Spain, by sending him a Gold- en Falcon encrusted from beak to claw with rar- est jewels –– but pirates seized the galley carry- ing the priceless token and the fate of the Mal- tese Falcon remains a mystery to this day. That crawl appears following the opening credits of “The Maltese Falcon,” set to dreamy-sinister music and laid over a dark image of the pere- grine statuary seemingly poised in some undis- Mary Astor looks on as Humphrey Bogart roughs up Peter Lorre covered tomb. The grammar is regrettable Courtesy Library of Congress (surely it should be Knights-Templar?), and sug- gestive of some haste. Was the foreword perhaps add- ture all a-flutter because her sister Corinne has run off ed at the last minute, in an act of desperation, after with a shady man named Thursby. Could Mr. Spade do preview audiences had grown fidgety with reel upon something about it? Mr. Spade's partner Miles Archer reel of baroque conversations and ornately peculiar (Jerome Cowan), a leering sleaze, shows up just in time comings and goings in a collection of offices and hotel to usurp the assignment—and within hours/minutes rooms purporting to be modern-day (1941) San Fran- gets abruptly dead. With the police sniffing after Sam cisco? More than half the film elapses before anyone as prime suspect (he had, after all, been sleeping with even mentions the titular bird, let alone accounts for his partner's wife), the detective starts improvising.
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A 'Star' of the Airwaves: Peter Lorre – 'Master of the Macabre' And
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