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Jane Fonda Blisters Vietnam War Effort
=11 Book Talk Fonda A re-play of the Jane Fonda Dr. Arlene Akerlund, assis- speech delivered at SJS tant professor of English, yesterday in the C.U. Ball- will discuss Ernest Heming- room will be on radio station way's novel "Islands in the KSJS 90.7 tonight at 8 and on Stream," today at noon in station KSJO at 8 tomorrow rooms A and B of the Spartan artan Datil Cafeteria. night. Serving the San Jose State College Community Since 1934 Vol. 58 SAN JOSE CALIFORNIA 95114, WEDNESDAY MARCH 3, 1971 No 77 Jane Fonda Blisters #1$ Vietnam War Effort kkitellompoiffatielt" By LANCE FREDERIKSEN "You don't hear of this because we do have lost control of their forces. Daily Political Writer not have a responsible press. But let me "If the men get a gung-ho officer, 111 q - Jane Fonda, actress and anti-war assure you, MyLai is not an isolated they'll fragg him," she declared, "So activist, urged an overflow crowd of incident," Miss Fonda added. the officers won't make them cut their .,A.0044 . about 2,000 listeners yesterday after- Miss Fonda recently attended the hair, stop smoking dope, or, above all, noon in the College Union Ballroom to war crimes investigation sponsored by go on dangerous missions." "make peace with the people of Viet- the Vietnam Veterans Against the War. Fragging, Miss Fonda explained, :Iv nam." The meeting, held in Detroit, Jan. 31, occurs when a fragmentation bomb is The audience enthusiastically and Feb. 1-2, was organized by 2,000 ex- rolled under an officer's tent. -
'Ex-Lexes' Cherished Time on Hawaiian Room's Stage POSTED: 01:30 A.M
http://www.staradvertiser.com/businesspremium/20120622__ExLexes_cherished_time_on_Hawaiian_Rooms_stage.html?id=159968985 'Ex-Lexes' cherished time on Hawaiian Room's stage POSTED: 01:30 a.m. HST, Jun 22, 2012 StarAdvertiser.com Last week, we looked at the Hawaiian Room at the Lexington Hotel in New York City, which opened 75 years ago this week in 1937. The room was lush with palm trees, bamboo, tapa, coconuts and even sported a periodic tropical rainstorm, said Greg Traynor, who visited with his family in 1940. The Hawaiian entertainers were the best in the world. The Hawaiian Room was so successful it created a wave of South Seas bars and restaurants that swept the country after World War II. In this column, we'll hear from some of the women who sang and danced there. They call themselves Ex-Lexes. courtesy Mona Joy Lum, Hula Preservation Society / 1957Some of the singers and dancers at the Hawaiian Room in the Lexington Hotel. The women relished the opportunity to "Singing at the Hawaiian Room was the high point of my life," perform on such a marquee stage. said soprano Mona Joy Lum. "I told my mother, if I could sing on a big stage in New York, I would be happy. And I got to do that." Lum said the Hawaiian Room was filled every night. "It could hold about 150 patrons. There were two shows a night and the club was open until 2 a.m. I worked an hour a day and was paid $150 a week (about $1,200 a week today). It was wonderful. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Mustang Daily, April 15, 1970
. '• ohlvpc Kennedy vows EOP support by FRANK ALDERETE of. the Mexican American; rTrviouHiyIKuaHAUAUi •kAutMDoui me only--- s— way— —a in 196*70 kicked te Staff Wrttar monetary and educational x person- could get himself Into a MO,000. SAC State students gave Noting that “success of the deprivations In the case of other college was to excell In athletics. $90,000 which enabled 07 more program la related to financial minorities such as Afro- "But now, Kennedy said, "we students to enroll In classes, support,Prei. Robert E. American and American Indian. can admit 2 per cent of minority Kennedy said that "he would Kennedy announced h^ ad The ability of an Individual to „ groups Into our campus. Now like to see the EOP program vocacy for the support of the rise up out of the ghetto quagmire they have a chance." expand." but that he would Economic Opportunity Program and to make himself a success is Tomorrow students will vote In rather see "a good program for a In an Interview yeeterday. a problem that has faced the a special election to determine few students than a mediocre one The problem of a lack of underprlvillged for years. whether or not ASI funds could be for a lot." motivation of an Individual Kennedy said that the "EOP used to support the EOP. Kennedy said that the program toward echolaetlc achievement la offers a minority lndivudual the Currently eight state colleges use oould and should utilise any funds ceueed by aeveral reasons— chance to make himself good and ASI funds to support their It could get. -
Wagon Master Caravana De Paz 1950, USA
Wagon Master Caravana de paz 1950, USA Prólogo: Una familia de bandoleros, los Cleggs, atraca un banco asesinando D: John Ford; G: Frank S. Nugent, a sangre fría a uno de sus empleados. Patrick Ford, John Ford; Pr: Lowell J. Farrell, Argosy Pictures; F: Bert Títulos de crédito: imágenes de una caravana de carretas atravesando un Glennon; M: Richard Hageman; río, rodando a través de (como dice la canción que las acompaña) “ríos y lla- Mn: Jack Murray, Barbara Ford; nuras, arenas y lluvia”. A: Ben Johnson, Joanne Dru, Harry Carey Jr., Ward Bond, 1849. A la pequeña población de Cristal City llegan dos tratantes de caballos, Charles Kemper, Alan Mowbray, Travis (Ben Johnson) y Sandy (Harry Carey Jr.) con la finalidad de vender sus Jane Darwell, Ruth Clifford, Russell recuas. Son abordados por un grupo de mormones que desean comprarles los Simpson, Kathleen O’Malley, caballos y contratarles como guías para que conduzcan a su gente hasta el río James Arness, Francis Ford; San Juan, más allá del territorio navajo, hasta “el valle que el señor nos tiene B/N, 86 min. DCP, VOSE reservado, que ha reservado a su pueblo para que lo sembremos y lo cultive- mos y lo hagamos fructífero a sus ojos”. Los jóvenes aceptan la primera oferta pero rechazan la segunda. A la mañana siguiente la caravana mormona se pone en camino, vigilada muy de cerca por las intolerantes gentes del pueblo. Travis y Sandy observan la partida sentados en una cerca. De repente, en apenas dos versos de la can- ción que entona Sandy, el destino da un vuelco y los jóvenes deciden incorpo- rarse al viaje hacia el oeste: “Nos vemos en el río. -
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. -
CARPET CLEANING SPECIAL K N O W ? Throughout History, I Dogs Have Been the on OU> 211 Most Obvious Agents in 5 MILES SO
remain young and beautiful only by bathing in and in the story of Lauren Elder’s grueling 36-hour or S a t u r d a y drinking the blood of young innocent girls — includ deal following the crash of a light aiplane that killed ing her daughter’s. 12:30 a.m. on WQAD. her two companions. The two-hour drama is based "Tarzan’s New Adventure” —- Bruce Bennett and "Sweet, Sweet Rachel” — An ESP expert is pit on the book by Lauren Elder and Shirley Ula Holt star in the 1936 release. 1 p.m. on WMT. ted against an unseen presence that is trying to drive Streshinsky. 8 p.m. on NBC. "Harlow” — The sultry screen star of the 1930s is a beautiful woman crazy. The 1971 TV movie stars "Walk, Don’t Run” — A young woman (Saman the subject of the 1965 film biography with- Carroll Alex Dreier, Stefanie Powers, Pat Hingle and Steve tha Eggar) unwittingly agrees to share her apart Baker, Peter Lawford, Red Buttons, Michael Con Ihnat. 12:30 a.m. on KCRG. ment with a businessman (Cary Grant) and an athe- nors and Raf Vallone 1 p.m. on WOC lete (Jim Hutton) during the Tokyo Olympics (1966). "The Left-Handed Gun” — Paul Newman, Lita 11 p.m. on WMT Milan and Hurd Hatfield are the stars of the 1958 S u n d a y western detailing Billy the Kid’s career 1 p.m. on "The Flying Deuces” — Stan Laurel and Oliver KWWL. Hardy join the Foreign Legion so Ollie can forget an T u e s d a y "The Swimmer” — John Cheever’s story about unhappy romance (1939). -
Hanks, Spielberg Tops in U.S. Army Europe Hollywood Poll
Hanks, Spielberg tops in U.S. Army Europe Hollywood poll June 8, 2011 By U.S. Army Europe Public Affairs HEIDELBERG, Germany -- “Band of Brothers” narrowly edged “Saving Private Ryan” in a two-week U.S. Army Europe Web poll asking the public to select their five favorite Related Links films portraying U.S. Soldiers in Europe. Poll Results The final tally for the top spot was 128 votes to 126, revealing the powerful appeal Tom U.S. Army Europe Facebook Hanks and Steven Spielberg hold among poll participants in detailing the experiences of U.S. Army Europe Twitter WWII veterans. U.S. Army Europe YouTube The two movies were both the result of collaborations by the Hollywood A-listers. U.S. Army Europe Flickr Rounding out the top five was “The Longest Day,” a 1962 drama starring John Wayne about the events of D-Day; “Patton,” directed by Francis Ford Coppola in 1970 and starring George C. Scott as the famed American general; and “A Bridge Too Far,” a 1977 film starring Sean Connery about the failed Operation Market- Garden. The poll received a total of 814 votes and was based on the realism, entertainment value and overall quality of 20 movies featuring the U.S. Army in Europe. Some of Hollywood's biggest stars throughout history - Elvis, Clint Eastwood, Gary Cooper, Bill Murray, Gene Hackman – have all taken turns on the big screen portraying U.S. Soldiers in Europe. But to participants of the U.S. Army Europe poll, it was the lesser-known “Band of Brothers” in Easy Company who were most endearing. -
English 488/588 – 36001/36002 NATIVE AMERICAN FILM Professor Kirby Brown Class Meetings Office: 523 PLC Hall TR: 2-3:50Pm Offi
English 488/588 – 36001/36002 NATIVE AMERICAN FILM Professor Kirby Brown Class Meetings Office: 523 PLC Hall TR: 2-3:50pm Office Hours: T, 4-5pm; W, 9-11am, and by email appt. Location: ED 276 [email protected] COURSE DESCRIPTION There is perhaps no image more widely recognized yet more grossly misunderstood in American popular culture than the “Indian.” Represented as everything from irredeemable savages and impediments to progress to idealized possessors of primitive innocence and arbiters of new-age spiritualism, “the Indian” stands as an anachronistic relic of a bygone era whose sacrifice on the altars of modernity and progress, while perhaps tragic, is both inevitable and necessary to the maintenance of narratives of US exceptionalism in the Americas. Though such images have a long history in a variety of discursive forms, the emergence of cinematic technologies in the early twentieth century and the explosion of film production and distribution in the ensuing decades solidified the Noble Savage/Vanishing American as indelible, if contradictory, threads in the fabric of the US national story. Of course, the Reel Indians produced by Hollywood say very little about Real Native peoples who not only refuse to vanish but who consistently reject their prescribed roles in the US national imaginary, insisting instead on rights to rhetorical and representational sovereignty. Through a juxtaposition of critical and cinematic texts, the first third of the course will explore the construction of “Reel Indians” from early ethnographic documentaries and Hollywood Westerns to their recuperation as countercultural anti-heroes in the 60s, 70s and 80s. The last two-thirds of the course will examine the various ways in which Native-produced films of the late 1990s to the present contest— if not outright refuse!—narrative, generic, and representational constructions of “the white man’s Indian” on the way to imagining more complex possibilities for “Real Indians” in the twenty-first century. -
John Qualen Bio.Pages
John Qualen Biography John Qualen - Class of 1920, (born Johan Mandt Kvalen, 12/8/1899 – 9/12/ 1987) was a Canadian- American character actor of Norwegian heritage who specialized in Scandinavian roles. Qualen was born in Vancouver, British Columbia, the son of immigrants from Norway; his father was a Lutheran minister and changed the family's original surname, “Kvalen” to “Qualen”. Qualen grew up in Elgin, Illinois. His acting career began when he was at Northwestern University which he attended on a scholarship from having won an oratory contest. Eventually making it to Broadway, he got his big break as the Swedish janitor in Elmer Rice’s “Street Scene”. His movie career began when he recreated the role in the film version. This was followed by his appearance in John Ford’s “Arrowsmith” (1931) which began a more than thirty year membership in the director's “stock company”, with important supporting roles in “The Searchers” (1956), “Two Rode Together” (1961) and “The Man Who Shot Liberty Valence” and “Cheyenne Autumn” . Appearing in well over one hundred films, and acting extensively on television into the 1970’s, Qualen performed many of his roles with various accents, usually Scandinavian, often intended for comic effect. Three of his more memorable roles showcase his versatility. Qualen assumed a Midwestern dialect as Muley, who recounts the destruction of his farm by the bank in Ford’s “The Grapes of wrath” , and as the confused killer Earl Williams in Howard Hawks’' classic comedy “His Girl Friday”. As Berger, the jewelry-selling Norwegian Resistance member in Michael Curtiz’ “Casablanca” , he essayed a light Scandinavian accent, but put on a thicker Mediterranean accent as the homeward-bound fisherman Locota in William Wellman’s “The High and the Mighty”, and appeared in nine films with John Wayne. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Brokeback and Outback
[CINEMA] ROKEBACK AND OUTBACK BRIAN MCFARLANE WELCOMES THE LATEST COMEBACK OF THE WESTERN IN TWO DISPARATE GUISES FROM time to time someone pronounces 'The Western is dead.' Most often, the only appropriate reply is 'Long live the Western!' for in the cinema's history of more than a century no genre has shown greater longevity or resilience. If it was not present at the birth of the movies, it was there shortly after the midwife left and, every time it has seemed headed for the doldrums, for instance in the late 1930s or the 1960s, someone—such as John Ford with Stagecoach (1939) or Sergio Leone and, later, Clint Eastwood—comes along and rescues it for art as well as box office. Western film historian and scholar Edward Buscombe, writing in The BFI Companion to the Western in 1988, not a prolific period for the Western, wrote: 'So far the genre has always managed to renew itself ... The Western may surprise us yet.' And so it is currently doing on our screens in two major inflections of the genre: the Australian/UK co-production, John Hillcoat's The Proposition, set in [65] BRIAN MCFARLANE outback Australia in the 1880s; and the US film, Ang Lee's Brokeback Mountain, set largely in Wyoming in 1963, lurching forwards to the 1980s. It was ever a char acteristic of the Western, and a truism of writing about it, that it reflected more about its time of production than of the period in which it was set, that it was a matter of America dreaming about its agrarian past.