DOCSLIB.ORG

2011 Schedule

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2011 Schedule 2011 SCHEDULE Tuesday, February 1 6:00 AM Eskimo (’33) 8:00 AM Hide-Out (’34) 9:30 AM Manhattan Melodrama (’34) 11:15 AM The Thin Man (’34) 1:00 PM Citizen Kane (’41) 3:00 PM The Great Dictator (’40) 5:15 PM Richard III (‘55) 8:00 PM The Private Life of Henry VIII (’33) 10:00 PM A Man for All Seasons (’66) 12:15 AM Anne of the Thousand Days (’69) 2:45 AM Last Summer (’69) 4:30 AM Anthony Adverse (’36) Wednesday, February 2 7:00 AM The Great Waltz (’38) 8:45 AM The Little Foxes (’41) 11:00 AM Nicholas and Alexandra (’71) 2:15 PM The Heart is a Lonely Hunter (’68) 4:30 PM Lonelyhearts (’58) 6:15 PM The Moon is Blue (’53) 8:00 PM Five Easy Pieces (’70) 10:00 PM Terms of Endearment (’83) 12:30 AM Easy Rider (’69) 2:15 AM The Lost Detail (’73) 4:15 AM The Guardsman (’31) Thursday, February 3 6:00 AM Witness for the Prosecution (’57) 8:00 AM Who’s Afraid of Virginia Woolf? (’66) 10:30 AM Guess Who’s Coming to Dinner? (’67) 12:30 PM Johnny Belinda (’48) 2:30 PM For Whom the Bell Tolls (’43) 5:30 PM A Streetcar Named Desire (’51) 8:00 PM The Love Parade (’29) 10:00 PM All Quiet on the Western Front (’30) 12:30 AM The Big House (’30) 2:00 AM The Divorcee (’30) 3:30 AM Disraeli (’29) 5:00 AM Edward, My Son (’49) Friday, February 4 7:00 AM Separate Tables (’58) 9:00 AM The Sundowners (’60) 11:30 AM The Champ (’31) 1:00 PM Dr. Jekyll and Mr. Hyde (’32) 2:45 PM The Lion in Winter (’68) 5:15 PM Funny Girl (’68) 8:00 PM The Heiress (’49) 10:00 PM The Bridge on the River Kwai (’57) 1:00 AM Ryan’s Daughter (’70) 4:30 AM Mourning Becomes Electra (’47) Saturday, February 5 7:15 AM Othello (’65) 10:15 AM Becket (’64) 1:00 PM Mr. Deeds Goes to Town (’36) 3:00 PM One Hundred Men and a Girl (’37) 4:30 PM The Awful Truth (’37) 6:15 PM Father of the Bride (’50) 8:00 PM Stand and Deliver (’88) 10:00 PM Gandhi (’82) 1:30 AM Ali (’01) 4:30 AM Lust for Life (’56) Sunday, February 6 7:00 AM Conquest (’37) 9:00 AM Abe Lincoln in Illinois (’40) 11:00 AM The Jolson Story (’46) 1:15 PM Birdman of Alcatraz (’62) 3:45 PM Viva Zapata! (’52) 5:45 PM The Pride of the Yankees (’42) 8:00 PM Sunrise (’27) 10:00 PM Wings (’27) 12:30 AM The House on 92nd Street (’45) 2:15 AM Viva Villa! (’34) 4:15 AM A Damsel in Distress (’37) Monday, February 7 6:00 AM Here Comes the Navy (’34) 7:30 AM Trader Horn (’31) 10:00 AM The House of Rothschild (’34) 12:00 PM Libeled Lady (’36) 1:45 PM The Black Swan (’42) 3:15 PM The Snows of Kilimanjaro (’52) 5:15 PM South Pacific (’58) 8:00 PM Blossoms in the Dust (’41) 10:00 PM Mrs. Miniver (’42) 12:30 AM Madame Curie (’43) 2:45 AM Mrs. Parkington (’44) 5:00 AM The Valley of Decision (’45) Tuesday, February 8 7:00 AM The Shoes of the Fisherman (’68) 9:45 AM Seven Brides for Seven Brothers (’54) 11:30 AM 2010 (’84) 1:30 PM The Hanging Tree (’59) 3:30 PM On the Beach (’59) 5:45 PM The Caine Mutiny (’54) 8:00 PM Gaslight (’44) 10:00 PM Kramer vs. Kramer (’79) 12:00 AM Glory (’89) 2:30 AM The Sin of Madelon Claudet (’31) Wednesday, February 9 4:30 AM Three Colors: Red (’94) 6:30 AM Woman in the Dunes (’64) 8:45 AM The Battle of Algiers (’67) 11:00 AM Z (’69) 1:30 PM Ball of Fire (’41) 3:30 PM A Foreign Affair (’48) 5:30 PM The Fortune Cookie (’66) 8:00 PM Come Back, Little Sheba (’52) 10:00 PM Cavalcade (’33) 12:00 AM Whatever Happened to Baby Jane? (’62) 2:30 AM Some Came Running (’58) (nominated for Best Song) 5:00 AM Robin and the Seven Hoods (’64) (nominated for Best Song) Thursday, February 10 7:15 AM Rich, Young and Pretty (’51) 9:00 AM Because You’re Mine (’52) 11:00 AM Tonight and Every Night (’45) 12:45 PM Romance on the High Seas (’48) 2:30 PM Anchors Aweigh (’45) 5:00 PM Star! (’68) 8:00 PM Annie Get Your Gun (’50) 10:00 PM An American in Paris (’51) 12:00 AM Too Young to Kiss (’51) 2:00 AM The Picture of Dorian Gray (’45) 4:00 AM Thousands Cheer (‘43) Friday, February 11 6:15 AM National Velvet (’44) 8:30 AM The Yearling (’46) 10:45 AM Random Harvest (’42) 1:00 PM Quo Vadis (’51) 4:00 PM Executive Suite (’54) 5:45 PM Little Women (’49) 8:00 PM The Graduate (’67) 10:00 PM Forrest Gump (’94) 12:30 AM Pretty Woman (’90) 2:45 AM Cat Ballou (’65) 4:30 AM A Free Soul (’31) 6:15 AM None But the Lonely Heart (’44) Saturday, February 12 8:15 AM Dark Victory (’39) 10:00 AM Of Mice and Men (’39) 12:00 PM Ninotchka (’39) 2:00 PM Wuthering Heights (’39) 4:00 PM Stagecoach (’39) 5:45 PM Mr. Smith Goes to Washington (’39) 8:00 PM The Wizard of Oz (’39) 10:00 PM Gone With the Wind (’39) (won) 2:00 AM Goodbye Mr. Chips (’39) 4:00 AM Love Affair (’39) Sunday, February 13 6:00 AM The Cowboy and the Lady (’38) 8:00 AM The Keys of the Kingdom (‘44) 10:30 AM Camelot (’67) 1:45 PM Daddy Long Legs (’55) 4:00 PM Coney Island (’43) 6:00 PM Mother Wore Tights (’47) 8:00 PM Miracle on 34th Street (’47) 10:00 PM Going My Way (’44) 12:30 AM Here Comes Mr. Jordan (’41) 2:15 AM The Story of Louis Pasteur (’36) 4:00 AM A Room with a View (’85) Monday, February 14 6:00 AM Alice Adams (’35) 8:00 AM Flirtation Walk (’34) 10:00 AM The More the Merrier (’43) 12:00 PM The Talk of the Town (’42) 2:00 PM The Bishop’s Wife (’47) 4:00 PM The Philadelphia Story (’40) 6:00 PM The Goodbye Girl (’77) 8:00 PM Rachel, Rachel (’68) 10:00 PM Casablanca (’42) 12:00 AM The Treasure of the Sierra Madre (’48) 2:15 AM Victor/Victoria (’82) 4:45 AM Cousin, Cousine (’75) Tuesday, February 15 6:30 AM Au Revoir, Les Enfants (’87) 8:15 AM The Last Metro (’80) 10:30 AM Black Orpheus (’59) 12:30 PM Mon Oncle (’58) 2:30 PM Alice (’90) 4:30 PM Radio Days (’87) 6:00 PM Hannah and Her Sisters (’86) 8:00 PM My Man Godfrey (’36) 10:00 PM Cimarron (’30) 12:15 AM Lilies of the Field (’63) 2:00 AM Kiss of the Spider Woman (’85) 4:15 AM Two Women (’60) Wednesday, February 16 6:00 AM Grand Illusion (’37) 8:00 AM Chang (’27) 9:30 AM Lady for a Day (’33) 11:15 AM The Life of Emile Zola (’37) 1:15 PM Since You Went Away (’44) 4:15 PM Sounder (’72) 6:15 PM Swing Time (’36) 8:00 PM My Favorite Year (’82) 10:00 PM Lawrence of Arabia (’62) 2:00 AM The Stunt Man (’80) 4:15 AM The Ruling Class (’72) Thursday, February 17 7:00 AM Goodbye, Mr. Chips (’69) 10:00 AM Never on Sunday (’60) 12:00 PM Butterfield 8 (’60) 2:00 PM Street Angel (’28) 4:00 PM Anna Christie (’30) 5:30 PM Irma La Douce (’63) 8:00 PM 12 Angry Men (’57) 10:00 PM Chariots of Fire (’81) 12:15 AM Room at the Top (’59) 2:15 AM American Beauty (’99) 4:15 AM Do the Right Thing (’89) Friday, February 18 6:30 AM Naked City (’48) 8:15 AM Dead End (’37) 10:00 AM Five Star Final (’31) 11:45 AM On the Town (’49) 1:30 PM It’s Always Fair Weather (’55) 3:15 PM My Sister Eileen (’42) 5:00 PM The Producers (’68) 6:30 PM It Should Happen to You (’54) 8:00 PM The Hospital (’71) 10:00 PM Marty (’55) 12:00 AM Network (’76) 2:15 AM The Goddess (’58) 4:15 AM San Francisco (’36) Saturday, February 19 6:15 AM Bad Day at Black Rock (’55) 7:45 AM The Old Man and the Sea (’58) 9:15 AM Inherit the Wind (’60) 11:30 AM Captains Courageous (‘37) 1:30 PM Come and Get It (’36) 3:30 PM The Westerner (’40) 5:30 PM Sergeant York (’41) 8:00 PM Gigi (’58) 10:00 PM The Lord of the Rings: Return of the King (’03) 1:30 AM The Last Emperor (’87) 4:15 AM Blow-Up (’66) Sunday, February 20 6:15 AM 2001: A Space Odyssey (’68) 9:00 AM Summertime (’55) 11:00 AM Morocco (’30) 12:45 PM In Cold Blood (’67) 3:15 PM The Third Man (’49) 5:15 PM The Inn of the Sixth Happiness (’58) 8:00 PM Born Yesterday (’50) 10:00 PM My Fair Lady (’64) 1:00 AM Auntie Mame (’58) 3:30 AM The Hasty Heart (’49) 5:30 AM Night Must Fall (’37) Monday, February 21 7:30 AM The Subject Was Roses (’68) 9:30 AM Sweet Bird of Youth (’62) 12:00 PM Watch on the Rhine (’43) 2:00 PM The Magnificent Yankee (’50) 3:30 PM The Bad Seed (’56) 6:00 PM The Member of the Wedding (’52) 8:00 PM State Fair (’45) 10:00 PM The Best Years of Our Lives (’46) 1:00 AM Pygmalion (’38) 2:45 AM Two Arabian Knights (’27) 4:30 AM A Midsummer Night’s Dream (’35) Tuesday, February 22 7:00 AM The Divine Lady (’29) 8:45 AM Limelight (’52) 11:15 AM A Day at the Races (’37) 1:15 PM Ship of Fools (’65) 3:45 PM The Devil and Daniel Webster (’41) 5:45 PM Skippy (’31) 7:15 PM The Red Balloon (’56) 8:00 PM The Defiant Ones (’58) 10:00 PM Amadeus (’84) 1:00 AM Thelma and Louise (’91) 3:15 AM Giant (’56) Wednesday, February 23 6:45 AM Suddenly, Last Summer (’59) 8:45 AM Too Many Husbands (’40) 10:15 PM The Men in Her Life (’41) 12:00 PM You Were Never Lovelier (’42) 2:00 PM Sahara (’43) 4:00 PM Cover Girl (’44) 6:00 PM A Song to Remember (’45) 8:00 PM All the King’s Men (’49) 10:00 PM You Can’t Take it with You (’38) 12:15 AM The Great Ziegfeld (’36) 3:30 AM Amarcord (’73) Thursday, February 24 6:00 AM 8 ½ (’63) 8:30 AM La Strada (’54) 10:30 AM The Lavender Hill Mob (’51) 12:00 PM Great Expectations (’46) 2:00 PM Cromwell (’70) 4:30 PM Doctor Zhivago (’65) 8:00 PM Dodsworth (’36) 10:00 PM Ben-Hur (’59) 2:00 AM Friendly Persuasion (’56) 4:30 AM The Collector (’65) Friday, February 25 7:00 AM Suspicion (’41) 9:00 AM To Each His Own (’46) 11:15 AM Marie Antoinette (’38) 2:00 PM The Corn is Green (’45) 4:00 PM The Search (’48) 6:00 PM Bus Stop (’56) 8:00 PM On the Waterfront (’54) 10:00 PM From Here to Eternity (’53) 12:15 AM Tom Jones (’63) 2:30 AM Bonnie and Clyde (’67) 4:30 AM Mutiny on the Bounty (’62) Saturday, February 26 7:45 AM Ivanhoe (’52) 9:45 AM King Solmon’s Mines (’50) 11:45 PM The Adventures of Robin Hood (’38) 1:45 PM The Letter (’40) 3:30 PM The Maltese Falcon (’41) 5:30 PM Fanny (’61) 8:00 PM It Happened One Night (’34) 10:00 PM One Flew Over the Cuckoo’s Nest (’75) 12:30 AM The Silence of the Lambs (’91) 2:45 AM Frances (’80) 5:15 AM Silkwood
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • Fact Or Fiction: Hollywood Looks at the News
    FACT OR FICTION: HOLLYWOOD LOOKS AT THE NEWS Loren Ghiglione Dean, Medill School of Journalism, Northwestern University Joe Saltzman Director of the IJPC, associate dean, and professor of journalism USC Annenberg School for Communication Curators “Hollywood Looks at the News: the Image of the Journalist in Film and Television” exhibit Newseum, Washington D.C. 2005 “Listen to me. Print that story, you’re a dead man.” “It’s not just me anymore. You’d have to stop every newspaper in the country now and you’re not big enough for that job. People like you have tried it before with bullets, prison, censorship. As long as even one newspaper will print the truth, you’re finished.” “Hey, Hutcheson, that noise, what’s that racket?” “That’s the press, baby. The press. And there’s nothing you can do about it. Nothing.” Mobster threatening Hutcheson, managing editor of the Day and the editor’s response in Deadline U.S.A. (1952) “You left the camera and you went to help him…why didn’t you take the camera if you were going to be so humane?” “…because I can’t hold a camera and help somebody at the same time. “Yes, and by not having your camera, you lost footage that nobody else would have had. You see, you have to make a decision whether you are going to be part of the story or whether you’re going to be there to record the story.” Max Brackett, veteran television reporter, to neophyte producer-technician Laurie in Mad City (1997) An editor risks his life to expose crime and print the truth.
    [Show full text]
  • Raymond Burr
    Norma Shearer Biography Norma Shearer was born on August 10, 1902, in Montreal's upper-middle class Westmount area, where she studied piano, took dance lessons, and learned horseback riding as a child. This fortune was short lived, since her father lost his construction company during the post-World War I Depression, and the Shearers were forced to leave their mansion. Norma's mother, Edith, took her and her sister, Athole, to New York City, hoping to get them into acting. They stayed in an unheated boarding house, and Edith found work as a sales clerk. When the odd part did come along, it was small. Athole was discouraged, but Norma was motivated to work harder. A stream of failed auditions paid off when she landed a role in 1920's The Stealers. Arriving in Los Angeles in 1923, she was hired by Irving G. Thalberg, a boyish 24-year- old who was production supervisor at tiny Louis B. Mayer Productions. Thalberg was already renowned for his intuitive grasp of public taste. He had spotted Shearer in her modest New York appearances and urged Mayer to sign her. When Mayer merged with two other studios to become Metro-Goldwyn-Mayer, both Shearer and Thalberg were catapulted into superstardom. In five years, Shearer, fueled by a larger-than-life ambition, would be a Top Ten Hollywood star, ultimately becoming the glamorous and gracious “First Lady of M-G-M.” Shearer’s private life reflected the poise and elegance of her onscreen persona. Smitten with Thalberg at their first meeting, she married him in 1927.
    [Show full text]
  • Introduction to Screenwriting 1: the 5 Elements
    Introduction to screenwriting 1: The 5 elements by Allen Palmer Session 1 Introduction www.crackingyarns.com.au 1 Can we find a movie we all love? •Avatar? •Lord of the Rings? •Star Wars? •Groundhog Day? •Raiders of the Lost Ark? •When Harry Met Sally? 2 Why do people love movies? •Entertained •Escape •Educated •Provoked •Affirmed •Transported •Inspired •Moved - laugh, cry 3 Why did Aristotle think people loved movies? •Catharsis •Emotional cleansing or purging •What delivers catharsis? •Seeing hero undertake journey that transforms 4 5 “I think that what we’re seeking is an experience of being alive ... ... so that we can actually feel the rapture being alive.” Joseph Campbell “The Power of Myth” 6 What are audiences looking for? • Expand emotional bandwidth • Reminder of higher self • Universal connection • In summary ... • Cracking yarns 7 8 Me 9 You (in 1 min or less) •Name •Day job •Done any courses? Read any books? Written any screenplays? •Have a concept? •Which film would you like to have written? 10 What’s the hardest part of writing a cracking screenplay? •Concept? •Characters? •Story? •Scenes? •Dialogue? 11 Typical script report Excellent Good Fair Poor Concept X Character X Dialogue X Structure X Emotional Engagement X 12 Story without emotional engagement isn’t story. It’s just plot. 13 Plot isn’t the end. It’s just the means. 14 Stories don’t happen in the head. They grab us by the heart. 15 What is structure? •The craft of storytelling •How we engage emotions •How we generate catharsis •How we deliver what audiences crave 16
    [Show full text]
  • Online Versions of the Handouts Have Color Images & Hot Urls September
    Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B.
    [Show full text]
  • Itinéraires, 2019-2 Et 3 | 2019 Spencer Tracy Et La Reconfiguration De La Masculinité Hégémonique Américaine
    Itinéraires Littérature, textes, cultures 2019-2 et 3 | 2019 Corps masculins et nation : textes, images, représentations Spencer Tracy et la reconfiguration de la masculinité hégémonique américaine après la Grande Dépression Spencer Tracy and the Reconfiguration of American Hegemonic Masculinity after the Great Depression Jules Sandeau Édition électronique URL : http://journals.openedition.org/itineraires/6812 DOI : 10.4000/itineraires.6812 ISSN : 2427-920X Éditeur Pléiade Référence électronique Jules Sandeau, « Spencer Tracy et la reconfiguration de la masculinité hégémonique américaine après la Grande Dépression », Itinéraires [En ligne], 2019-2 et 3 | 2019, mis en ligne le 27 novembre 2019, consulté le 15 décembre 2019. URL : http://journals.openedition.org/itineraires/6812 ; DOI : 10.4000/ itineraires.6812 Ce document a été généré automatiquement le 15 décembre 2019. Itinéraires est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Spencer Tracy et la reconfiguration de la masculinité hégémonique américaine ... 1 Spencer Tracy et la reconfiguration de la masculinité hégémonique américaine après la Grande Dépression Spencer Tracy and the Reconfiguration of American Hegemonic Masculinity after the Great Depression Jules Sandeau 1 Si Spencer Tracy avait déjà acquis une certaine renommée pendant la première moitié des années 1930 (Loew 2008), notamment grâce à sa prestation dans The Power and the Glory (William K. Howard, 1933) qui reçut un très bon accueil critique (Curtis 2011 : 200, 208-210), ce sont ses rôles dans Fury (Fritz Lang, 1936) et San Francisco (W. S. Van Dyke, 1936) qui lui permirent de devenir une star hollywoodienne de premier plan au milieu de la décennie.
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • The Faded Stardom of Norma Shearer Lies Lanckman in July
    CORE © The Editor(s) (if applicable) and The Author(s) 2016. This is a post-peer-review, pre-copyeditMetadata, version of citation a chapter and published similar papers in at core.ac.uk Provided by University of Hertfordshire Research Archive Lasting Screen Stars: Images that Fade and Personas that Endure. The final authenticated version is available online at: http://dx.doi.org/10.1057/978-1-137-40733-7_6 ‘What Price Widowhood?’: The Faded Stardom of Norma Shearer Lies Lanckman In July 1934, Photoplay magazine featured an article entitled ‘The Real First Lady of Film’, introducing the piece as follows: The First Lady of the Screen – there can be only one – who is she? Her name is not Greta Garbo, or Katharine Hepburn, not Joan Crawford, Ruth Chatterton, Janet Gaynor or Ann Harding. It’s Norma Shearer (p. 28). Originally from Montréal, Canada, Norma Shearer signed her first MGM contract at age twenty. By twenty-five, she had married its most promising producer, Irving Thalberg, and by thirty-five, she had been widowed through the latter’s untimely death, ultimately retiring from the screen forever at forty. During the intervening twenty years, Shearer won one Academy Award and was nominated for five more, built up a dedicated, international fan base with an active fan club, was consistently featured in fan magazines, and starred in popular and critically acclaimed films throughout the silent, pre-Code and post-Code eras. Shearer was, at the height of her fame, an institution; unfortunately, her career is rarely as well-remembered as those of her contemporaries – including many of the stars named above.
    [Show full text]
  • Preston Sawyer Film and Theater Collection MS.404
    http://oac.cdlib.org/findaid/ark:/13030/c8w66sh5 No online items Preston Sawyer Film and Theater Collection MS.404 Debra Roussopoulos University of California, Santa Cruz 2019 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Preston Sawyer Film and Theater MS.404 1 Collection MS.404 Language of Material: English Contributing Institution: University of California, Santa Cruz Title: Preston Sawyer Film and Theater Collection creator: Sawyer, Preston, 1899-1968 Identifier/Call Number: MS.404 Physical Description: 8 Linear Feet27 boxes Date (inclusive): 1907-1959 Abstract: This collection contains photographs, lobby cards, correspondence, ephemera, and realia. Storage Unit: 1-27 Access Collection is open for research. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. For more information on copyright or to order a reproduction, please visit guides.library.ucsc.edu/speccoll/reproduction-publication. Preferred Citation Preston Sawyer Film and Theater Collection. MS 404. Special Collections and Archives, University Library, University of California, Santa Cruz. Biographical / Historical The Sawyer family of Santa Cruz, California, were avid movie and theater aficionados. The materials in this collection were gathered mainly by Preston Sawyer, and contributed to by Ariel and Gertrude Sawyer. Ariel Sawyer spent time working in Hollywood from 1922-1925.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]