Some Movies We Missed
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Hobart Bosworth 1OOO to 1 Qrifr^Lth'8 L«Teftt 8UCCE88 S Clean on Tuesday Evening Next
, . Br Mall. SUM DM w. Hanunonton, N. j., APRIL $9, 192J. Th Plac for "FOR THE GOOD OF LOCAJ, BOVS BIG ODD FELLOWS MEET * *, Good Eats ' JL A JL HAMMONTON.'; ' - Hammonton HigJ dents Hammonton Odd Fellows will ipeet "To emr man there openeth • way. were unUeual)y iubl ek be- to arronga^ans for attending tie big 'A And the high tonl climbs the Men way. cause of a decisive . ! by meet of O*l Fellows to be held on s s And the low *>nl gropes the low; s the Hrimmonton Hij leball Saturday night this week in the Cam- PABACE THEATRE np"l_ • ' iv '• * - i In * 'i» And In between an tne mbtjr flats, team on their, riv Saddon den armory. Hammonton expects to The rent drift to and fro.. Heighta team, Hat tnrry off the honor of having the old- But to every man there openeth tha score of 8 to I field- ' This Saturday Night 1 f Tina Dried Beef A Ugh way and »law. est Odd Fellow at the meeting, Wil- " ' „ * * And every man detidrth ing better thurt KMT; liam Bernshouse, • who has , been a The way MJ-Mul shall to." member of the order for 64 years. "CLEAN The Chamber of Commerce meets Hobart Bosworth 1OOO to 1 QRIFr^lTH'8 L«TEftT 8UCCE88 s clean on Tuesday evening next. Come. TASTES BETTER up week at Hammo eh but LONG RIDE .TO FIRE Chester Comedy Torchy Toms Capfd The latest production made by 1). VT. the Griffith, "Drctm Street" foiraflwl «u little Interest is bete Hammonton firemen Sunday night storlto by Thomns Burks IB n fcreat project this year, it M t con- took ft. -
Looking at Hollywood with Ed Sullivan Will the Movi'e Industry Return to Chicago? by ED SUWVAN Hollywood, Cal
Paae Two CJaicaao SUI1day TribuI1e Looking at Hollywood with Ed Sullivan Will the Movi'e Industry Return to Chicago? By ED SUWVAN Hollywood, Cal. FTIiURMAN ARNOLD, as- slstant United States attor- Iney general, Is as successful as the movie Industry fears he w1ll be In his anti-trust suits against the major companies, It means that moving picture corn- panles w1ll have to abandon or get rid of their theater chains. It means, too, that the movie field w1ll then be open to Inde- A FEW OF THE MOVIE COLONY OF CHICAGO A QUARTER OF A CENTURY AGO pendent movie companies, be- Be?erly Bayne. heroine of many of Believe it or notl This i. Wallace Franci. X. Bushman, idol of the film Clara Kimball Young. a celebrate cause Arnold's plan is to force the old Chicago productions. Beery of away back when. fan. of another generation. star of the early pictures. the movie magnates to get out I of distribution and exhibition of Beery could have made amend pictures. Under the plan an .for this social grievance whe open market for films would be he returned to Chicago year produced. It all sounds very later to make a personal appear involved, but actually It isn't at ahce at the Chicago theater. Th all involved. It simply means stagehands were prepared t that under such a setup Chicago forget all about his previou 1••aancters could very well estab- curtness. When he came back 11sh great movie studios right stage one of the veterans wh there in Hlfnois and add an Im- had worked at Essanay wit portant industry to that area. -
Literary Miscellany
Literary Miscellany Including Fine Printing, Artist’s Books, And Books & Manuscripts In Related Fields. Catalogue 329 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
TSAP 2016 Screening Schedule
To Save and Project: The 14th MoMA International Festival of Film Preservation Screening Schedule November 2–23, 2016 The Roy and Niuta Titus Theaters Cock of the Air. 1932. USA. Directed by Tom Buckingham. Screenplay by Charles Lederer, Robert E. Sherwood. With Chester Morris, Billie Dove, Matt Moore. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. Producer Howard Hughes combined two of his principal interests—one of them was airplanes—for this amazingly raunchy comedy set in Europe during World War I, with Chester Morris as an American pilot with an international reputation as a womanizer and Billie Dove as a French actress determined to teach him a lesson. Hughes tried but failed to sneak the film past the Hays censorship office and was forced to cut nearly two reels of footage; this restoration from the Academy Film Archive includes much of the censored imagery and uses newly recorded dialogue to fill in lines removed from the surviving soundtrack. The unheralded director Tom Buckingham demonstrates a surprisingly assured hand with extreme long takes, a technique he may have learned as a writer on Tay Garnett’s Her Man. DCP. 80 min. Wednesday, November 2, 4:30 (introduced by Michael Pogorzelski, Director, and Heather Linville, Film Preservationist, Academy Film Archive) Sunday, November 6, 4:00 p.m. The Front Page. 1931. USA. Directed by Lewis Milestone. Screenplay by Ben Hecht, Charles MacArthur, based on their play. With Pat O’Brien, Adolphe Menjou, Mary Brian. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. -
Sound Evidence: an Archaeology of Audio Recording and Surveillance in Popular Film and Media
Sound Evidence: An Archaeology of Audio Recording and Surveillance in Popular Film and Media by Dimitrios Pavlounis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2016 Doctoral Committee: Associate Professor Sheila C. Murphy, Chair Emeritus Professor Richard Abel Professor Lisa Ann Nakamura Associate Professor Aswin Punathambekar Professor Gerald Patrick Scannell © Dimitrios Pavlounis 2016 For My Parents ii ACKNOWLEDGMENTS My introduction to media studies took place over ten years ago at McGill University where Ned Schantz, Derek Nystrom, and Alanna Thain taught me to see the world differently. Their passionate teaching drew me to the discipline, and their continued generosity and support made me want to pursue graduate studies. I am also grateful to Kavi Abraham, Asif Yusuf, Chris Martin, Mike Shortt, Karishma Lall, Amanda Tripp, Islay Campbell, and Lees Nickerson for all of the good times we had then and have had since. Thanks also to my cousins Tasi and Joe for keeping me fed and laughing in Montreal. At the University of Toronto, my entire M.A. cohort created a sense of community that I have tried to bring with me to Michigan. Learning to be a graduate student shouldn’t have been so much fun. I am especially thankful to Rob King, Nic Sammond, and Corinn Columpar for being exemplary scholars and teachers. Never have I learned so much in a year. To give everyone at the University of Michigan who contributed in a meaningful way to the production of this dissertation proper acknowledgment would mean to write another dissertation-length document. -
Biography of Bessie (Harrison) (Eyton) (Coffey) Mcdonald
Biography of Bessie (Harrison) (Eyton) (Coffey) McDonald BESSIE HARRISON was born 05 July 1890 in Santa Barbara, Santa Barbara County, California and died, 22 January 1965 at the age of 74 in Thousand Oaks, Ventura County, California. Her Cause of Death was Congestive Heart Failure. She is buried at Ivy Lawn Memorial Park, Ventura, Ventura County, California on January 29, 1965 in Section E, Plot 26, Grave 6E with the name of BESSIE MCDONALD. Her parents were EDGAR THOMAS HARRISON and CLARIBEL MEAD. She married 1st CHARLES F. EYTON (1871- 1941), Selig producer, about 1909 and divorced between 1912 and 1915. She married 2nd CLARK BREWER COFFEY (1885 - ) 29 September 1916 and divorced 29 June 1923. She married 3rd a <unknown> MCDONALD. In the 1900 U.S. Census at the age of nine, Bessie lived along with her parents and brother Elbert, on South Hope Street in Los Angeles. By the 1910 U.S. Census as indicated on the census, she was married to Charles F. Eyton for a year and living on North 49th Street in Los Angeles. In the 1920 U.S. Census, she is married but apparently separated from her second husband, Clark Coffey. She is living on Hillcrest Road in Los Angeles with her mother, who was also remarried and divorced from her second husband, Henry Brightly. Also living with her was brother, Elbert; and her half brother and sister, Henry and Claribel. Bessie got into show business by way of her father Edgar, who was a musician. The 1917 “Lincoln Daily Star” stated “she was visiting the Selig studios with a party of friends, when a director saw and liked her red hair because he said it would photograph a beautiful black, so he offered her a minor role.” As was common during that period, she married quite young and used her married name Eyton throughout her career, even after her divorce. -
Best Practices for Cataloging DVD and Blu-Ray Discs Using
Best Practices for Cataloging DVD-Video and Blu-ray Discs Using RDA and MARC21 Version 1.1 November 2017 Prepared by the Online Audiovisual Catalogers Inc. Best Practices for Cataloging DVD/Blu-ray – Version 1.1 (November 2017) Cataloging Policy Committee DVD/Blu-ray RDA Cataloging Task Force Acknowledgements DVD/Blu-ray RDA Cataloging Guide Task Force Members: William Anderson (2012-13) Connecticut State Library Lloyd Chittenden (2012-15) Fort Lewis College Cyrus Ford (2012-13) University of Nevada, Las Vegas Mary Huismann (2013-15, chair) University of Minnesota Douglas King (2012-13) University of South Carolina John Lavalie (2012-13) Des Plaines Public Library Peter Lisius (2012-13) Kent State University Nancy Lorimer (2012-13) Stanford University, Music Library Julie Renee Moore (2012-15) California State University, Fresno Lori Murphy (2012-13) DePaul University Laurie Neuerburg (2014-15) Victoria College/University of Houston-Victoria Anchalee “Joy” Panigabutra-Roberts (2012-14) American University at Cairo Scott Piepenburg (2012-13) University of Wisconsin-Stevens Point Diane Robson (2012-13, chair) University of North Texas Walter Walker (2012-15) Loyola Marymount University Iris Wolley (2012-15) Columbia University Advisors: Greta de Groat Stanford University Kelley McGrath University of Oregon Jay Weitz OCLC Online Computer Library Center Editors: Marcia Barrett University of California, Santa Cruz Julie Renee Moore California State University, Fresno The Task Force wishes to acknowledge the thoughtful comments from the numerous people in the cataloging community who took the time and effort to respond during the creation of this document. This update is built upon the work of the 2008 DVD Cataloging Guide Update Task Force members. -
Read Article on Film History
19 —— 1 FILM HISTORY Volume 19 Number 1 2007 pp. 1–104 SPINE Film HISTORY An International Journal Volume 19, Number 1, 2007 CHASING REALITY Edited by Richard Koszarski Introduction: Chasing Reality Richard Koszarski 1 The Soviet cinematic offensive in the Spanish Civil War Daniel Kowalsky 7 Family history, film history: Dad & the Telenews Theatre Corporation Michael, Jennifer and Nathan, Jr. Aronson 20 An experiment in ‘historically correct’ Canadian photoplays: Montreal’s British American Film Manufacturing Co. Louis Pelletier 34 Myth and movie making: Karl Brown and the making of Stark Love John White 49 Constructing a priest, silencing a saint: The PCA and I Confess (1953) Amy Lawrence 58 Volume 19 Number 1 2007 Acting with feeling: Robert Donat, the ‘Emotion Chart’ and The Citadel (1938) Vicky Lowe 73 ISSN: 0892-2160 Dualling for Judy: The concept of the double in the films of Kim Novak Vincent L. Barnett 86 OUTSIDE BACK COVER VOLUME 19 NUMBER 1 2007 Film HISTORY AN INTERNATIONAL JOURNAL The Soviet cinematic offensive in the Spanish Civil War (page 7) An experiment in ‘historically correct’ Canadian photoplays (page 34) Myth and movie making: Karl Brown and the making of Stark Love (page 49) Constructing a priest, silencing a saint: The PCA and I Confess (1953) (page 58) THIS ISSUE CHASING REALITY FRONT COVER Film Subscription HISTORY information (2007) Film History (ISSN 0892-2160) is published quarterly by Indiana University Press and John Libbey Pub- An International Journal lishing. All views or conclusions are those of the authors of the articles and not necessarily those of the editorial staff, Indiana University Press, or John Editor-in-Chief: Libbey Publishing. -
A Victim of the Mormons and the Danites: Images and Relics from Early Twentieth-Century Anti-Mormon Silent Films
Jacob W. Olmstead: Images from Early Anti-Mormon Silent Films 203 A Victim of the Mormons and The Danites: Images and Relics from Early Twentieth-Century Anti-Mormon Silent Films Jacob W. Olmstead In the fall of 1999, while searching through one of the newspaper clip- pings volumes of the William Spry papers in the L. Tom Perry Special Collections at Brigham Young University, I came across a headline that piqued my interest. The headline read, “Mormon Governor Threat to Bar Films in Utah.” The article documents Spry’s years as governor of Utah.1 For the next several months, BYU history professor Brian Q. Cannon and I began to uncover the circumstances in which Governor Spry would make such an audacious threat. We discovered that in 1911 and 1912, at least half a dozen silent films presenting scurrilous tales about The Church of Jesus Christ of Latter-day Saints were released in Europe and the United States (see Appendix). These films, with alluring titles such as A Victim of the Mormons or The Mountain Meadows Massacre, emerged in the wake of an anti-Mormon movement that originated with the 1904–1906 Reed Smoot Hearings and swept through the United States and later Europe. This crusade against “the Mormon problem” was bellowed through a number of venues, including dime novels, popular magazines, newspapers, traveling lecturers, and plays, all claiming to offer a truthful glimpse into the practices of Mormonism. Like the novels and magazine articles, the films drew upon accounts of plural marriage, the Mountain Meadows massacre, and the Danites as fodder for their sensational stories. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
THE GREAT WAR: a CINEMATIC LEGACY OPENS at Moma on the CENTENARY of the START of WORLD WAR I
THE GREAT WAR: A CINEMATIC LEGACY OPENS AT MoMA ON THE CENTENARY OF THE START OF WORLD WAR I The Great War: A Cinematic Legacy August 4—September 21, 2014 The Roy and Niuta Titus Theaters NEW YORK, July 8, 2014–Opening on the 100th anniversary of the day World War I began, The Museum of Modern Art’s The Great War: A Cinematic Legacy runs from August 4 through September 21, 2014, highlighting 60 feature-length films and thematic programs that attempt to provide a comprehensive view of the war as portrayed in film. The various films focus on prewar activities; espionage; the battlefields in the trenches, in the air, and on and beneath the sea; actualités; and the various homefronts before, during, and after the war. Familiar films, such as A Farewell to Arms (1932) and Lawrence of Arabia (1962), along with several lesser-known works from as far away as New Zealand—including Chunuk Bair (1992)—reflect the universality of a war that reshaped the prevailing values of what passed for civilization. In August, the program is predominately drawn from the early years, either during the war or in the succeeding decades, and includes several silent films. The program in September will concentrate mainly on later, more contemporary films up to, and including, Steven Spielberg’s War Horse (2011). The Great War is organized by Charles Silver, Curator, with Dave Kehr, Adjunct Curator, Department of Film, The Museum of Modern Art. Many of the films in the series deal with the entrenched stalemate in France, including Verdun, Vision d’Histoire (Verdun, Vision of History) (1928) directed by Leon Poirier. -
Lenori#*^ Metropolitan Sociation of Los Angeles, the Lay- Written by Elmer Harris, and Clara Unbobbed Girls Win
2 AMUSEMENTS." I THE SUNDAY STAR, WASHINGTON, T). C. AUGUST 7. 1927-PART 3. AMUSEMENTS.^ A New Waterfall. An American Premiere. EDEN.” Modern Romantic Newsmen wonderful waterfall, never seen by IN THE DOUG FAIRBANKS PICTURE “'THE GARDEN OF a comedy adapted by Avery Hop- Moving Picture Album background The tourists, forms a for wood from the German of Rudolph THE news reel cameraman Is the taken in the blazing streets. Guard- Richard Dix’s new Paramount picture, Kernauer and Rudolph Ostreioher, A for the first time modern romantic, lie has displaced ing his great scoop with his own .per- BY ROBERT E. SHERWOOD. “Man Power.” will be presented son, to Paris. In America Monday night, August 8, the colorful and fascinating adventure he rushed in a plane Up in the deserted gold mining re- Edwin H. Knopf, in association of the newspaper reporter of the There the picture was prepared with by Harding Davis whose utmost speed for shipment a fast straight- gion of the Sierra Nevada Mountains with Arch Selwyn. at the Baltimore Richard era as- on f 4 who has formed the per- Circus," if and when he * * NY ONE ever x signments took him to the ends of the liner already leaving the dock several writingabout mo- ens out his numerous legal difficulties. where the Stanislaus River cuts into jjY Auditorium. , nicious habit of '¦&&&&* regarded through dangers and hard- hundred miles from Paris. Another tion pictures knows that the months Universal has two big ones on the gorge its way down to The event is of importance, plane started.