DOCSLIB.ORG

The Field Guide to Sponsored Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. Page 1 and back cover (from left): The Stenographer’s Friend: or, What Was Accomplished by an Edison Business Phonograph (1910), courtesy of Library of Congress; Tomorrow’s Drivers (1954), courtesy of Prelinger Archives; A Continent Is Bridged (1940), courtesy of Prelinger Archives. Typeset by David Wells Copyedited by Sylvia Tan Printed in the USA by Great Impressions TABLE OF CONTENTS Acknowledgments iv Introduction vi How to Use This Guide xii Film Entries 1 Appendix 1: Works Frequently Cited 105 Appendix 2: Sources of Copyright Data 107 Appendix 3: Repositories Cited 108 Appendix 4: Films by Date 111 Index of Subjects, Places, and Organizations 116 Index of Personal Names 130 About the National Film Preservation Foundation 140 ACKNOWLEDGMENTS Gathering, sifting through, and evaluating information for this publication was a huge undertaking involving hundreds of individuals and institutions over the course of 18 months. Rick Prelinger tirelessly oversaw the project from start to finish, developing the research strategy, selecting and documenting films, collecting holdings data, and writing and indexing the entries. The guide is a testament to his knowledge, enthusiasm, and perse- verance. Assisting Rick in refining the methodology were a team of archivists and scholars: Dan Streible (New York University), Donald Crafton (University of Notre Dame), Michael Mashon and Amy Gallick (Library of Congress), Wendy Shay (National Museum of American History, Smithsonian Institution), Margaret Compton (University of Georgia), Abby Smith, and the staff of the National Film Preservation Foundation. As the project took shape, this group advised on the scope and content. Several experts—Jennifer Horne (Bryn Mawr College), Steve Lubar (Brown University), Gregory Waller (Indiana University), and Charles McGovern (College of William and Mary)—critiqued the film selection in the winter and spring of 2006 and offered invaluable suggestions for improving coverage and documentation. Additional suggestions were contributed by colleagues attending the University of South Carolina’s Orphan Film Symposium, which in March 2006 featured a panel and film screening based on the project. In summer 2006, Alex Thimons, a Cornell University undergraduate who had helped in the initial stages of the project the previous summer, returned to fact-check the manuscript and assist, under the direction of the NFPF staff, in its final preparation. We owe him a special thanks for his exacting and perceptive research. Scores of scholars and preservationists generously contributed information relating to their collections and specialties: Ruta Abolins (University of Georgia), Charles Acland (Concordia University), Geoff Alexander (Academic Film Archive of North America), Bev Allen (Bessemer Historical Society), Craig Baldwin (Other Cinema), Snowden Becker (Center for Home Movies), Charles Benton (Benton Foundation), Larry Bird (National Museum of American History, Smithsonian Institution), Henry Charles, Michele Christian (Iowa State University), Liz Coffey (Rhode Island Historical Society), Sid Davis, Melissa Dollman (UCLA Film and Television Archive), Mary Durkee, Paul Eisloeffel (Nebraska State Histor- ical Society), Skip Elsheimer (AV Geeks), Bob Finehout, David Marc Fischer, Bill Geerhart (Conelrad.com), Allan Goodrich (John F. Kennedy Presidential Library and Museum), Charles Grimm, Christine Hennig, Charles Hopkins (UCLA Film and Television Archive), Jan-Christopher Horak (University of California, Los Angeles), Ann L. Horton-Line (Yale University), Ken House (Weyerhaeuser Company), Paul Ivester, John Jack, Jeff Joseph (Sabucat Productions), Gary Kaboly (Pittsburgh Filmmakers), Kim Klausner (University of California, San Francisco), Christina Kovac (National Archives), Jeff Kreines, Andrew Lampert (Anthology Film Archives), Steve Leggett (Library of Congress), Erica Levin (University of California, Berkeley), Arel Lucas (Embry-Riddle Aeronautical University), J. Fred MacDonald (MacDonald and Associates), Steven Mandeville-Gamble (North Carolina State University), Sarah Ziebell Mann (New York University), Caroline Martel (Artifact Productions), Karen E. Martin (Nature Society), Eef Masson (Utrecht University), Barbara Mathe (American Museum of Natural History), Anna McCarthy (New York University), Joe Morrison (Pittsburgh Filmmakers), Bill Murphy (AVArchives Services), Bill O’Farrell, Stephen O’Riordan (University of California, San Diego), Stephen Parr (San Francisco Media Archive), Martin Pernick (University of Michigan), Greg Pierce (Orgone Archives), Zak Piper (Kartemquin Films), Steve Polta (San Francisco iv Acknowledgments Cinematheque), Megan Shaw Prelinger (Prelinger Archives), Bradley Reeves (Tennessee Archive of Moving Image and Sound), Eddie Richmond (UCLA Film and Television Archive), Linda Ries (Pennsylvania State Archives), Amy Rudersdorf (North Carolina State University), John Sanford, Eli Savada (Motion Picture Information Service), Sean Savage (New York University), Valarie Schwan (University of Southern California), Jay Schwartz (Secret Cinema), Karan Sheldon (Northeast Historic Film), Lee Shoulders (Getty Images), Bob Shuster (Wheaton College), Scott Simmon (University of California, Davis), Todd Southern, Paul Spehr, Cecile Starr, Albert Steg, Rob Stone (UCLA Film and Television Archive), George Stoney (New York University), Henry Strauss, Bob Summers, Dwight Swanson (Appalshop), Tad Tadlock, Bill Taylor, Mark Taylor (National Air and Space Museum, Smithsonian Institution), Charles Tepperman (University of Chicago), Mark Toscano (Academy Film Archive, Academy of Motion Picture Arts and Sciences), Louisa Trott (Tennessee Archive of Moving Image and Sound), Frederick M. Veith (Swarthmore College), Nancy Watrous (Chicago Film Archives), David Weiss (Northeast Historic Film), Sam Wells, Liz Wiatr (Boise State University), Pam Wintle (National Museum of Natural History, Smithsonian Institution), Bret Wood, Frank Wylie (Library of Congress), Tanya Zanish-Belcher (Iowa State University), Jennifer Zwarich, and the many others who helped along the way. This project was funded through a grant from The Andrew W. Mellon Foundation and would not have been possible without the encouragement and support of the foundation and its program officers. Thank you. Annette Melville, Director National Film Preservation Foundation v INTRODUCTION The Field Guide to Sponsored Films is a first effort to review and assess the thousands of industrial and institutional films sponsored by American businesses, charities, educational institutions, and advocacy groups over the last century. In the tradition of the naturalist’s field guides, it describes examples discovered by patient observation and points out their identifying characteristics. In so doing, The Field Guide calls attention to historically sig- nificant but neglected titles, makes an argument for reclaiming their rightful place in film history, and suggests directions for scholarship. Sponsored films are as old as film itself. From the earliest years of cinema, motion pictures have been produced to record, orient, train, sell, and persuade. Though it is estimated that 300,000 industrial and institutional films have been made in the United States—far more than any other type of motion picture—the film type is little known. Almost every major company, national business association, and educational institution produced or commis- sioned titles intended for staff, customers, or the public. Today these films are valuable both as documentation of past places, events, and practices and as examples of changing styles of rhetoric. Although it is tempting to characterize sponsored films as specimens of extinct media, it is more accurate to see them as part of a continuum that today includes video and the Internet, the media of choice for corporate and institutional
Recommended publications
  • 1968.10.16.Pdf (8.470Mb)

    1968.10.16.Pdf (8.470Mb)

    _ Flt h ? - The Salis bur1 Stat'e ... occer ~(' - R cord _ ow .. Outten's 3-1-2 A nswers" Png 3! foJ:xXXVIII - NO. 2 OCTOBER 16, 196 FAI .Y '' TO y PL 0 s C. l\lr. \Vilson haron Leo nard, a senior, as Eliza Doolittle; John O'Ma y, also a sen­ io r, as Henry Higgins; Ike F eath­ er, a sophomore, as Colonel Pick­ in g is a n 1 I rly eli ng ; Frank Parks, a junior, as man who a ·ls Ml ll1 <' h ::u·acl t ' F'reddy Eynsford-Hill ; and Tom I al11. n c I lwC'r n J·~liza :mcl Hig­ Davis, a freshman, as Alfred P . g in s. Hr is the •pi Lom of lhc old Doolittle. gng ll sh grnllc•ma n." Fl"anlc Parks, who plays Fr ddy Eynsfor l-Hill, has b n in lh SSC proclu lions of arni v:tl and Com­ Alexander .Scourby Presents Program (• lly of J~rron; and in lh student produ lion Phoenix Too F r - A noted actor of stage, scr een, <1111·111. He a lso di!" • lr cl L ('t 'l'hrrl' radio and television came to lk 1"::trc·(• las l y 111·. cscl"ibin g I hr alisbury State College on Thurs­ r; hara :ler of l•' n ·clcl y, h<' said , day, October 3, 1968, in H olloway "F1·rclcl y iH an a1" islocn1li ·. s liff­ Hall Auditorium when Alexander 'CJli a 1· young 111 :1_11 wilh a l finilc courby presented " Walt Whit­ cl a mpne>ss b hincl llw cars.
  • The University of Chicago Looking at Cartoons

    The University of Chicago Looking at Cartoons

    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
  • AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S

    AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S

    AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
  • Kronos Quartet Performing Three from Its Fifty for the Future Initiative, Including the World Premiere of New Work by Anna Meredith

    Kronos Quartet Performing Three from Its Fifty for the Future Initiative, Including the World Premiere of New Work by Anna Meredith

    CONTACT: Louisa Spier Jeanette Peach Cal Performances Cal Performances (510) 643-6714 (510) 642-9121 [email protected] [email protected] FOR IMMEDIATE RELEASE: November 10, 2016 Press Room CAL PERFORMANCES AT UC BERKELEY PRESENTS KRONOS QUARTET PERFORMING THREE FROM ITS FIFTY FOR THE FUTURE INITIATIVE, INCLUDING THE WORLD PREMIERE OF NEW WORK BY ANNA MEREDITH COMMEMORATING THE CENTENNIAL OF THE ARMENIAN GENOCIDE, MARY KOUYOUMDJIAN’S SILENT CRANES RECEIVES BAY AREA PREMIERE SATURDAY, DECEMBER 3, 2016 Berkeley, November 10, 2016 — Cal Performances welcomes back the Kronos Quartet for a concert featuring three works by composers from Fifty for the Future: The Kronos Learning Repertoire, on Saturday, December 3, at 8pm in Zellerbach Hall. Through its Fifty for the Future initiative, Kronos is commissioning a collection of 50 new works—10 per year for five years—from an eclectic group of 50 composers (25 men and 25 women); the new works explore contemporary approaches to the string quartet, designed for student players and emerging professional ensembles. Cal Performances is a major project partner for Fifty for the Future, which aligns closely with its Berkeley RADICAL initiative to cultivate artistic literacy in future generations. Of Fifty for the Future, Kronos Quartet artistic director, violinist and founder David Harrington told NPR, “What I hope will happen is that the art form is just going to expand. And the explorations that will be possible from this body of work will just bring a lot of new energy into the field.” The score for each of Kronos’ Fifty for the Future commissions will be made available to musicians free of charge, along with accompanying digital learning materials, recordings, and performance notes.
  • Introduction

    Introduction

    CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................
  • Inspección Técnica De Materiales En El Archivo De Una Filmoteca 1

    Inspección Técnica De Materiales En El Archivo De Una Filmoteca 1

    SEGUNDA EDICIÓN ELECTRÓNICA NOVIEMBRE DE 2007 www.mcu.es MINISTERIO DE CULTURA Edita: © Instituto de la Cinematografía y de las Artes audiovisuales NIPO: 554-10-014-2 MINISTERIO DE CULTURA Ángeles González-Sinde Ministra de Cultura Ignasi Guardans Director General del ICAA El autor autoriza e incluso agradece expresamente, cualquier tipo de difusión no venal de esta edición electrónica Alfonso del Amo García Noviembre de 2007 Inspección técnica de materiales en el archivo de una filmoteca 1 Introducción Primera edición electrónica Segunda edición electrónica En 1996, al editar este cuaderno, la Filmoteca Pese a constatar que los años transcurridos han Española pretendía cubrir algo del vacío existente envejecido extraordinariamente esta obra, parece en la literatura especializada en el área de la adecuado plantearse la difusión de una nueva conservación cinematográfica. edición electrónica, ahora en formato PDF, Pocos años más tarde, agotada ya aquella cambiando algunos aspectos de la maquetación, edición, los infinitos cambios que se han sucedido para permitir la impresión sobre papel y mejorar en la cinematografía y los avances conseguidos la legibilidad. en el conocimiento de los problemas relacionados Alfonso del Amo García con la conservación pesan sobre este texto: no Noviembre de 2007 obstante, se ha creído conveniente renovar su difusión, ahora en el medio electrónico, a la espera de que nuevos y más completos textos vengan a apoyar la tarea de los archivos. En la preparación de esta versión electrónica se ha seguido, exactamente, a lo publicado en 1996. Únicamente algunas ilustraciones han sido reelaboradas (mejorando su resolución o incluyendo color) y se ha procedido a reorganizar las notas, incorporando algunas nuevas; también se ha introducido un nuevo apéndice con la versión en uso de la Hoja/Modelo para informe de inspección de películas y sus correspondientes tablas.
  • (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links

    (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links

    October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released.
  • Elementary State Fair Community Coll., Sedalia, Mo. Office of Education

    Elementary State Fair Community Coll., Sedalia, Mo. Office of Education

    DOCUMENT RESUME ED 112 073 95 CE 004 836 TITLE Career Education: Learning with a Purpose; Elementary 3-4; Volumes 1and 2. INSTITUTION State Fair Community Coll., Sedalia, Mo. SEMIS AGENCY Office of Education (DHEW), Washington, D.C. PUB DATE 74 NOTE 182p. EDRS PRICE MF-$0.76 HC-$9.51 Plus Postage DESCRIPTORS Audiovisual Aids; *Career Education; Classroom Materials; *Curriculum Guides; Decision Making; Educational Attitudes; *Elementary Education; Field Trips; Grade 3; Grade 4; Integrated Curriculum; Interpersonal Competence; *Learning Activities; Occupational Information; Resource Guides; Self Actualization; Self Concept; Self Evaluation; Social Studies; Units of Study (Subject Fields) IDENTIFIERS Missouri ABSTRACT The guide to career education is designed to supplement an existing curriculum at the third and fourth grade level; it suggests and outlines a developmental program of learning activities and resource materials which may be integrated with the teaching of academic subject areas. The suggested activities and materials are designed to (1) promote the student's understanding of himself and others, (2) provide occupational information,(3) explore the world of work, and (4) prepare the student for personal decision-making. The program is intended to help the student recognize that educational experiences are a means of achieving life goals. The activities_in Volume 1 pertain to social studies, and include a Missouri unit with student worksheets and a collection of studentrdeveloped, career-related games and puzzles. The subject areas used to group the activities in Volume 2 are fine arts, language arts, math, and science. In addition to the suggested resource materials which are listed in conjunction with the learning activities, both volumes contain identical resource guides to audiovisual materials, sources of free career information, and a list of field trip sites in Missouri.
  • Airplane! by Michael Schlesinger

    Airplane! by Michael Schlesinger

    Airplane! By Michael Schlesinger In most people’s minds, the 1970s break neatly in two. The first half was the so- called Silver Age of Holly- wood, when a new genera- tion of directors arose and put their stamp on the mov- ies: Scorsese, Coppola, DePalma, Friedkin and oth- ers made ambitious, rule- breaking films that seemed to spell the end of the vaunted studio system (save Peter Bogdanovich, Stewardess Julie Hagerty and erstwhile pilot Robert Hays in the cockpit of the doomed who made traditional pictures ‘Airplane!’ Courtesy Library of Congress Collection. in a modern way). But a funny thing happened on the way to auteur nirvana: two “Zero Hour!” (Davison avers this was totally a coinci- other New Kids inadvertently killed the silver goose, dence.) The brass liked it yet were skeptical, but leg- and by the time the dust settled, Spielberg and Lucas endary producer Howard W. Koch “got” it and volun- were the new white-haired boys, and the studios teered to come aboard. With that reassurance and a were back in the blockbuster business for good. reasonable $3.5 million budget, Michael Eisner gave them the green light. Yet what most people forget is that big money was already being hauled in throughout the decade by an It didn’t begin smoothly. ZAZ, as they were called, exceedingly old-fashioned genre: the disaster film. wanted dramatic actors not known for comedy, who George Seaton’s good-natured “Airport” made a kill- would deliver the goofy dialogue perfectly seriously; ing in 1970, but it was considered a one-off throw- Paramount thought this was bonkers and wanted back.
  • Strange Fruit

    Strange Fruit

    Get hundreds more LitCharts at www.litcharts.com Strange Fruit antithetical to the South's purported values. The poem thus SUMMARY forcefully argues that no society can call itself civil and also be capable of acts like lynching; the South can’t be an idyllic The trees in the southern United States hang heavy with an “pastoral” place if black people’s corpses swing in the breeze. unusual fruit. These trees have blood on their leaves and at According to the poem, notions of progress and civilization are their roots. The dead bodies of black lynching victims sway nothing but hollow lies if such racism is allowed to thrive. back and forth in the gentle southern wind; these bodies are the strange fruit that hang from the branches of poplar trees. And, importantly, this racist hatred affects the entire tree—which becomes covered in blood “on the leaves” “at Picture the natural beauty and chivalry of the American South, and the root.” Just as a tree must suck up water from the ground where corpses hang with swollen eyes and contorted mouths. and spread it all the way through its branches, the poem implies The sweet, fresh smell of magnolia flowers floats on the air, that the "blood" shed by racism works its way through until suddenly interrupted by the smell of burning flesh. humanity. Lynching is thus a failure of humanity that results in Crows will eat the flesh from these bodies. The rain will fall on the rotting of the human family tree. them, the wind will suck them dry, and the sun will rot them.
  • Boxoffice Barometer (March 6, 1961)

    Boxoffice Barometer (March 6, 1961)

    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
  • High School Guide

    High School Guide

    2018-19 Cincinnati Public Schools High School Guide Prepared for Life What’s Inside Superintendent's Message .................................................................... 2 Graduation Requirements ...................................................................... 3 Career and Technical Education Programs ............................................ 4 My Tomorrow Initiative .......................................................................... 5 Important Information about the High School Application Process ..... 6-7 Lottery Rounds and Waiting List Details .............................................. 8 CPS Students Applying to CPS – In District ......................................... 9 Applying to Upper Grades in CPS High Schools .................................. 10 Non-CPS Students Applying to CPS – In District and Out of District ... 11 Sports and Extracurricular Activities ..................................................... 12-14 Aiken High School .............................................................................. 15-16 Carpe Diem Innovative School – Cincinnati (A CPS-sponsored charter school) ........................................................ 17-18 Cincinnati Digital Academy .................................................................... 19-20 Clark Montessori High School ............................................................... 21-22 Dater High School .................................................................................. 23-24 Map of High School Locations ............................................................