National Box Office Digest Annual (1943)

Total Page:16

File Type:pdf, Size:1020Kb

National Box Office Digest Annual (1943) TECHNICOLOR pictures place first and second in m3 according to BoxOfficePigest TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS President and General Manager Productions [: For Paramount Preparing: "STORM" "RHYTHM RANCH" "ONE BODY TOO MANY" Root O^ice DIGEST Annual Buy MORE War Bonds Third Victory Loan Drive The Big Ten. TITLES AND DIST. ESTIMATED GROSS PRODUCER DIRECTOR STAR MRS MINIVER 1. Sydney Franklin $5,000,000 MGM William Wyler Greer Garson YANKEE DOODLE DANDY Hal Wallis 2. WAR Vi m. Cagney Michael Curtiz James Cagney S $4,500,000 ROAD TO MOROCCO Bing Crosby 3. PAR Paid Jones David Butler Bob Hope $3,750,000 Dorothy Lamour REAP THE WILD Ray Milland WIND John Wayne ! 4. PAR C. B. DeMille C. B. DeMille Paulette Goddard $3,500,000 BLACK SWAN 5. FOX Robert Bassler Henry King Tyrone Power $3,000,000 SOMEWHERE Clark Gable I’LL FIND YOU Pan Berman W esley Ruggles 6. MGM Lana Turner $2,500,000 HOLIDAY INN Bing Crosby 7. PAR B. C. DeSylva Mark Sandrich $2,225,000 Fred Astaire EAGLE SQUADRON Walter Wanger Arthur Luhin 8. $2,100,000 UNIV LOUISIANA PURCHASE 9. PAR B. C. DeSylva Irving Cummings Bob Hope $2,100,000 Harold Wilson PRIDE OF THE 10. RKO Samuel Goldwyn Sam W ood Gary Cooper YANKEES Names and Credits of the Box Office “Big Ten” for 1942 ORIGINAL SCREENPLAY j FEATURED FILM EDITOR CAMERAMAN WRITERS WRITERS Arthur Wimperas Walter Pidgeon George Froeshel Teresa Wright Jan Struther Harold Kress Joe Ruttenberg Reginald Owen James Hilton Richard Ney Claudine West Walter Huston Joan Leslie Robert Buckner Robert Buckner George Amy James Wong Howe ■ George Tobias Edmund Joseph Jeanne Cagney Frank Butler Frank Butler Anthony Quinn Irene Morra William Mellor Don Hartman Don Hartman Robert Preston Alan LeMay Victor Milner Susan Hayward Thelma Straybell Charles Bennett Anne Bauchens Raymond Massey Wm. V. Skall Jesse Lasky Jr. Lynne Overman George Sanders Maureen O’Hara Ben Hecht Rafael Sabatini Barbara McLean Leon Shamroy Laird Cregar Seaton I. Miller Thomas Mitchell Charles Hoffman Robert Sterling Adapted by Marguerite Roberts Frank Hull Harold Rosson Walter Reisch Irving Berlin Marjorie Reynolds Adapted by Claude Binyon Ellsworth Hoagland David Abel Virginia Dale Elmer Rice Robert Stack John Loder j Jon Hall C. S. Forester Norman Reilly Raine Philip Cahn Stanley Cortez Diana Barrymore Eddie Albert Zorina Morrie Ryskind Jerome Chodrov Ray Rennahan i Victor Moore LeRoy Stone B. G. DeSylva Joseph Fields Harry Hallenberger Irene Sordini Teresa Wright Walter Brennan Herman J. Mankiewicz Paul Gallico Dan Mandell Virginia Gilmore Joe Swerling Rudolph Mate Babe Ruth 0> H Hft to° - O ’ Cffi 0) ^ : »h s tc-5 - 3 o vr cti ►, S£w° s <A •? a £j= c 2-cp a „ c«5'’ °5£fcbco -3x ~|£:£SU S* E^. &B°S>>.20§(.<S.S ^n 0iS jjb X s jb-" sj£s-£ -gs^5£ •cSl^S.S *2 a a S|-g 0 •= £ c J3 O 3 2 (hxgo-S. OfcSOwK cK(xh&.< cehS^k *3 2>>>«o<gCPp;«<MBS«sopP«>gp<><ooso CSXOStf <>>SJM>>«>S>K«<B;o>xe3>>ss «gXgdP«Edxbg>x6tfiiiEdx<<i cs-s^^K (A 0 555<t,)apo<!;<p<!<i!<0^«5C50p“p^«0ii <o« opoo°<!S5:«:bob«:«:p<:xoo<sPoo^oOu«o<cwxoxoeox<:<:w;1;opxoOp«:H< wggg&^s '-is-s j| ;«®g« ^6h Ph CU §§s^^p^pSp®® ®g®£o®®®®®i:»gp®®®®®“® u C/2" fa a -3 *3 C« O M O 32 So O to C Ph C < ^ ed a; 2 of ;»§ ; so •Jal . £ C A! >. £ & tic > bo C •a ai |> . cC ^O ^ >> d; J5 ►© <n a> .E m — to u affi a P a © ■? e a “i ^ a o u w S c a, S«g“ *- bo T3> a, o.E^ © - h£« 0> A « So>< <; a *55 c < w >| S CO £•£ SJ=(2°-5f1 a3 w ft tc £ u v «m cn — M I — - « C8 C M a. U2 £ a fr a^ag-g a C .O tS«" a J bo ' ^ ^ ^ v <uj: <|o| *55 ° to to<^„ oiS W S3 t_ .v ui a'gMSS® g oW- “ ;hS. £c Z c ^ p ^ QJ ^ .■SK-*4 ^ o^ Cfl CO g S 5 X o f 01 bO ~G Oi*22 2^fn‘*J*^'>*WjM * * Oi cn fcj *~ '"' Z W 3 73 r* X iJafi : Ph a a a ■ ■ =ac"^ H P 0, A J O b_« ^ E £ , w "'■'O— >« 2 S,S SxE o, O 3 a *<3 3 ^ 3 ClCQ ? e X g° oto-^o^rvibfl^- £ , C C+j cd ?■= = c r« - ° a .5 o a Ph i; o?3CttO ->Wrh _C « r-5 -25 °S .rr*3m* £ Seo °I7Z® &op> CQ°|.m> ^i?> > *-01 •“M °<h Lo- C'”2S3 Cfl 3 c?Vo to 3 >;g «==.s W c S^E.P ^frS" <hho3!h ^>s . , w w 3 £ o.s^'S a 0 ffl -1* u be * M w “USOpC 1-^ ^ ^5 Ea o pK t. E^ ^ £ 3!|®5 ^o«<<3s^'^ = c"s>^ ~p cOtH^fc-^HJ £c>> c S3® 3 On oj 0,5<D ^c_ S ??OO no ^ 3 d> .Ec cdrt N - 3C c«JIjj -*p i€j nm Mr.fee E, ® ? M fa S £ «, b o « ^5 “ be g?1 a<e?S.c>'‘-r1!4' a.„a^!w 1 s- .c -a d*: >,3 2 a; £ u a a; a "? ^ _._ _ i >. C .5 a > c i.2a,o sOp s n > c • p ; 3 i sj > i: if r ' cd^.-- 3— OJL-CC OJ3J3J3 — :j:j3s» ? ed at — I .sil!|^§sgi!>siijs*1i!is O 0> o ,2 i- — cflO ed ed 'U ed J- — ‘J r * * ^' :>-*r ,r ^ kSh^JCSZ^ H a? Eh cq S >h qj cl, c ^ cu S a: W tf s«& Izoao-^JPCC >Z<^Sd ^NCJ5 (M 0^000 COCO-'* CO CO O t> CO lO 'Ml/O'.- •^(MOSOO OOC^C-CO to to to CO to to lO lO U5 U5 »0 Hj« 'rf NNrlH HhHH r—1HH HHHHHHH HHH g««tf XS«> PPOX ftJg'gXPPSX PtfXgXKgK Xgtf« XXOS «g«<id gKgpJX XgX>PXligX pj'tfg OXtfKP ggXXC<G >>'pj' ><<3(Bg ggx'Ej'o p<<< oo<5 <xo <oSoo<:o 0<000<C0<< oo«i oo< <o<pa o<c:<:o ooocoo<oo <e<o «o<co ouooxpx ec< ^ppco ooogox © gis®® ®g®g ®“® ®gg®v®® ®®®g®^gi5 ®gj:=: ®®is SgbP ;« g®gi^ ®g® g®®®g^ ®^g «®®®® gg®®« I® pp&p ; :®K gS®®H® © © © Cfl > Ph to ^ J> as to ^ £ 73 o £ C J3 ed C (2^5 w X cfl to >»“ £ ft ej >h cfl ,||£S, 3_c c a Ogc«a< h“.S ^ a a a I a<5>■= o°£ •— 3 ^ 3gM c1- c a "c >;mg5+< a a2 a Sg aOP5 .2§S^ g a C 3 d a 2 6^Sp £Sc%3> £ [ g a .SO „ & >H ^ o' Cfl £ - — 73 ed «4h co « ^co % J1 HH ^ — cp o^o, fl ed -2 a S a -2 5 E o u «<d Oo2 •g a u a® a g.2.c •~x o u - a .2 °a P I -o a to ® pH ^2-3 w — O 2 -3 ed o c at a> ^p-io^a; »ag bcOO g. P3A 2 « a « W o .£ £ ♦» bo HJ . EH-£ S 3 c fco >* q >» c - ‘S’© £ 0» 3c3c> a> _o «1> © ed It 4) efi f3 C ed ed a E'-S M — n - ^ ‘-•C A c ^ O jw o o. C^& g.&^WS J- ed o 0/ a a-g-S >,’3| o g to *x O o 3 •2.2o'aao'a2apa 4» 3 3 rt jj't.c S><a;oj 03coW W ^SM^ggg Sifi*S3SSa*.5t3 e/itrp 3ui2pC PH«fcE><Q;HoeH HO< f'EhHQ^Z hwh dJwMddm 00UP<>0 OOOfcOJOOOCJOJ OpoH^ZfcW Z0SP5H«PS mZfcWfcOPi BJBSB5B50 Qmmpi^P; e« o o « o ^ p* a< a< &-a-o sisrisn -ss iss. © © * i ; «s ,3 s* ;.s« a © £ .*$1. ... co e © O p *o __ fe * i •o d * 3 — d © ^3 -3 ■ © o ©- CQ o *2 c ^ Hero 2E« §1“ S| W -|3-g -i fci^J «5 ® Sx « jjo'1 ® © &°&&sl-l © ^ •-385 Minnesota %4 the J* ©V,,* « © © o bi C 4**0 , e c o •x0 UE gB5 *d S e — .c © © ctn o c ®W .« a> .3 *« t. ft e e s d flj J- of s»j< b.u a o |-E3&s*»< at « fl — y 0) , = C few C 8§o| °-Sg^° £ Son 2 w 2 *r "m J2 n .O 3-a j- *7 CO t. -3 ^ . = .2n3 C 3 p © © © £ k?WOn£ O 3 QW O i " ° c o a, £ o © 3: jT •= O h — O O 03 3.3.3 © My O E-l > CO W — 03 issr z/e XCCfnCPC Smith T-Hcr>c~r-(©©o[^cD,cocr>cr>ojrH»-Ho©oo©ooc^co©cr>ocr>cr)cr>critc>LouticciioioiOioxfi-^<^j,T}«'^«'-j'' o © i-4**H0JOO>O><J>aoaoaOOOOOOOaOOOaoaOaOaOt'-t'*t-C'-['*C'-t”C-E-t-C'-C-C'-C-r'-t-C-t-t--C-tr-C-e-t-t ~ © cq »h © C' H © d>sJ><«oJx'Q:dMdd«j>xds^>,a;>:x>d(iHtx!JdJpSPl'dP.'«J<:>>pH'ps'6pjstfo6d>[«;d«>'>><d>pj'>>: © M5oO«t3c«ooH2<!««<:o5;owoW!dw5c>d“'ac>0^0<t!S«9<:o>5dw<^<<!c!<w^t£!Sow<5t:owc<i55: iM «|sq| !»,«q»;aoS«»,^g^;s»|g(1^g^^Bqs^^S“ iggl <=# C o '*4 H © 3 © *> 2 d ' u > © u u © C'- "s b © © cm Qbo|§ £5 . o bo rt *0.3 03 4) Q T3 © „«8 .J.72 © 3 © CO Q © TJ -E ^3 r h 3 O c ^ w « uh O U © CO q; *“5 a bo d” g 02 bO « CQ 3 ce.t3iJ ; <W 3 2 c‘C ■02 sz* 3^9 S d cC 3 3 e -3 • H ®x ® bO T3 at >» .
Recommended publications
  • Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood
    Those Slap-Happy Screamsters Go A’haunting! Saturday, October 23 at 2 & 8 pm only Abbott and Costello’s Hold That Ghost In late 1941 Milton Berle was said to have quipped, "Things are slow in Hollywood. Abbott and Costello haven't made a picture all day." And he was right. fter the smash success of their first starring feature,Buck Privates, (1941) burlesque and Aradio comics Bud Abbott and Lou Costello were the number one box office attraction in the country--and literally saved Universal Studios from bankruptcy. In fact, the only movie that outgrossed Buck Privates at the time was Gone with the Wind. Anxious to keep the team working, Universal Studios had already completed production on their next film, a non-music spoof of two popular film genres of the era--the Haunted House movie and Gangster melodrama--then titled Oh Charlie! (a reference to a running gag in the film where a dead gangster's body keeps turning up). But when the huge box office returns fromBuck Privates began rolling in, Universal temporarily shelved Oh Charlie! to put the team in an- other service themed follow-up, In the Navy. When they returned to Oh Charlie! , Universal discovered test audiences for the film wondered why the Andrews Sisters, who had been in the two previous hits, were absent in this one. So additional re-shoots were required to include the trio, now making it a horror/ comedy, with a couple of songs thrown in. The title was eventually changed to Hold That Ghost and became the third smash hit for Abbott and Costello that year, continuing a string of successes that would keep them among the top box office attractions for the next ten years and would also serve as the inspiration for another classic, 1948's Abbott and Costello Meet Frankenstein.
    [Show full text]
  • Transatlantica, 1 | 2018 Le Regard Impossible 2
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux.
    [Show full text]
  • Patricia Medina Y María Montez. Dos Estrella Coetáneas De Hollywod De
    PATRICIA MEDINA Y MARÍA MONTEZ. DOS ESTRELLAS COETÁNE- AS DE HOLLYWOOD DE ASCENDENCIA CANARIA. ANÁLISIS CONTRASTIVO PATRICIA MEDINA AND MARIA MONTEZ. TWO CONTEMPORARY HOLLYWOOD STARS OF CANARY DESCENT. CONTRASTIVE ANALYSIS Inodelbia Ramos Pérez* y Pedro Nolasco Leal Cruz** Cómo citar este artículo/Citation: Ramos Pérez, I. y Leal Cruz, P. N. (2017). Patricia Medina y María Montez dos estrellas coetáneas de Hollywood de ascendencia canaria. Análisis contrastivo. XXII Coloquio de Historia Canario-Americana (2016), XXII-064. http://coloquioscanariasmerica.casadecolon.com/index.php/aea/article/view/10007 Resumen: Patricia Medina y María Montez son dos estrellas de Hollywood de ascendencia canaria, el padre de la primera nació en Las Palmas de Gran Canaria, el de la segunda en Garafía (La Palma). Las dos artistas tuvieron una vida paralela y carreras exitosas. Ambas se casaron con actores muy conocidos del cine del siglo pasado. Nuestro objetivo es hacer un estudio y contraste de estas dos famosas actrices. Palabras clave: Patricia Medina, María Móntez, cine, Gran Canaria, La Palma, Hollywood, Siglo XX Abstract: Patricia Medina and Maria Montez are two Hollywood stars of Canary descent. The father of the former was born in Las Palmas de Gran Canaria and the father of the latter was born in Garafia (La Palma). Both artists had a parallel life and enjoyed successful careers, both stars had well-known husbands in the world of stardom of the twentieth Century. Our aim is to make a study and contrast between them. Keywords: Patricia Medina, Maria Montez, cinema, Gran Canaria, La Palma, Hollywood, XXth Century INTRODUCCIÓN Canarias tiene el orgullo y privilegio de contar con dos artistas de nivel internacional, hijas de padres canarios.
    [Show full text]
  • Friday, Jan. 1
    Friday, Jan. 1 B = LIVE SPORTS MOVIES MOVIE PREMIERE EASTERN 4AM 4:30 5AM 5:30 6AM 6:30 7AM 7:30 8AM 8:30 9AM 9:30 10AM 10:30 11AM 11:30 CENTRAL 3AM 3:30 4AM 4:30 5AM 5:30 6AM 6:30 7AM 7:30 8AM 8:30 9AM 9:30 10AM 10:30 MOUNTAIN 2AM 2:30 3AM 3:30 4AM 4:30 5AM 5:30 6AM 6:30 7AM 7:30 8AM 8:30 9AM 9:30 PACIFIC 1AM 1:30 2AM 2:30 3AM 3:30 4AM 4:30 5AM 5:30 6AM 6:30 7AM 7:30 8AM 8:30 PREMIUM MOVIES Die Another Day (( (’02, Action) Pierce (:15) Mr. Mom ((6 (’83, Comedy) Michael (7:50) Tommy Boy (( (’95, WarGames ((( (’83, Suspense) Matthew (:25) Ghost SHO-E 318 Brosnan, Halle Berry ‘PG-13’ Keaton, Teri Garr ‘PG’ Comedy) Chris Farley ‘PG-13’ Broderick, Dabney Coleman ‘PG’ (’90) SHO-W 319 ¨Full Metal Jacket (’87) The Last of the Mohicans ((( (’92) ‘R’ Die Another Day (( (’02, Action) ‘PG-13’ (:15) Mr. Mom ((6 (’83, Comedy) ‘PG’ (10:50) Tommy Boy ¨Scary Stories to Tell (:05) Belushi (’20, Documentary) John Landis, (6:55) The Current War: Director’s (:40) Meet the Parents ((( (’00, Comedy) Meet the Fockers ((6 (’04, SHO2-E 320 in the Dark (’19) ‘PG-13’ Lorne Michaels ‘NR’ Cut (’19, Historical Drama) ‘PG-13’ Robert De Niro, Ben Stiller ‘PG-13’ Comedy) Robert De Niro ‘PG-13’ SHOBET 321 ¨She Hate Me (( (’04) ‘R’ Beneath a Sea of Lights (’20) Jim Sarbh ‘NR’ Against the Tide Surge (’20, Documentary) ‘NR’ (:15) The Express ((6 (’08, Biography) ‘PG’ SHOX-E 322 (:05) A Most Violent Year (’14) Oscar Isaac ‘R’ (:10) The Tuxedo (6 (’02, Comedy) ‘PG-13’ Top Gun ((( (’86, Action) Tom Cruise ‘PG’ Miami Vice (’06, Crime Drama) Colin Farrell ‘R’ SHOWTIME SHOS-E 323
    [Show full text]
  • List of Shows Master Collection
    Classic TV Shows 1950sTvShowOpenings\ AdventureStory\ AllInTheFamily\ AManCalledShenandoah\ AManCalledSloane\ Andromeda\ ATouchOfFrost\ BenCasey\ BeverlyHillbillies\ Bewitched\ Bickersons\ BigTown\ BigValley\ BingCrosbyShow\ BlackSaddle\ Blade\ Bonanza\ BorisKarloffsThriller\ BostonBlackie\ Branded\ BrideAndGroom\ BritishDetectiveMiniSeries\ BritishShows\ BroadcastHouse\ BroadwayOpenHouse\ BrokenArrow\ BuffaloBillJr\ BulldogDrummond\ BurkesLaw\ BurnsAndAllenShow\ ByPopularDemand\ CamelNewsCaravan\ CanadianTV\ CandidCamera\ Cannonball\ CaptainGallantOfTheForeignLegion\ CaptainMidnight\ captainVideo\ CaptainZ-Ro\ Car54WhereAreYou\ Cartoons\ Casablanca\ CaseyJones\ CavalcadeOfAmerica\ CavalcadeOfStars\ ChanceOfALifetime\ CheckMate\ ChesterfieldSoundOff\ ChesterfieldSupperClub\ Chopsticks\ ChroniclesOfNarnia\ CimmarronStrip\ CircusMixedNuts\ CiscoKid\ CityBeneathTheSea\ Climax\ Code3\ CokeTime\ ColgateSummerComedyHour\ ColonelMarchOfScotlandYard-British\ Combat\ Commercials50sAnd60s\ CoronationStreet\ Counterpoint\ Counterspy\ CourtOfLastResort\ CowboyG-Men\ CowboyInAfrica\ Crossroads\ DaddyO\ DadsArmy\ DangerMan-S1\ DangerManSeason2-3\ DangerousAssignment\ DanielBoone\ DarkShadows\ DateWithTheAngles\ DavyCrockett\ DeathValleyDays\ Decoy\ DemonWithAGlassHand\ DennisOKeefeShow\ DennisTheMenace\ DiagnosisUnknown\ DickTracy\ DickVanDykeShow\ DingDongSchool\ DobieGillis\ DorothyCollins\ DoYouTrustYourWife\ Dragnet\ DrHudsonsSecretJournal\ DrIQ\ DrSyn\ DuffysTavern\ DuPontCavalcadeTheater\ DupontTheater\ DustysTrail\ EdgarWallaceMysteries\ ElfegoBaca\
    [Show full text]
  • UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
    UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr.
    [Show full text]
  • Sgt. Bilko, M*A*S*H and the Heyday of U.S
    TV/Series 10 | 2016 Guerres en séries (II) “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/1764 DOI: 10.4000/tvseries.1764 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) », TV/Series [Online], 10 | 2016, Online since 01 December 2016, connection on 05 May 2019. URL : http://journals.openedition.org/tvseries/1764 ; DOI : 10.4000/ tvseries.1764 This text was automatically generated on 5 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and t... 1 “‘War… What Is It Good For?’ Laughter and Ratings”: Sgt. Bilko, M*A*S*H and the Heyday of U.S. Military Sitcoms (1955-75) Dennis Tredy 1 If the title of this paper quotes part of the refrain from Edwin Starr’s 1970 protest song, “War,” the song’s next line, proclaiming that war is good for “absolutely nothing” seems inaccurate, at least in terms of successful television sitcoms of from the 1950s to the 1970s. In fact, while Starr’s song was still an anti-Vietnam War battle cry, ground- breaking television programs like M*A*S*H (CBS, 1972-1983) were using laughter and tongue-in-cheek treatment of the horrors of war to provide a somewhat more palatable expression of the growing anti-war sentiment to American audiences.
    [Show full text]
  • Glendale Police Department
    If you have issues viewing or accessing this file contact us at NCJRS.gov. ClPY O!.F qL'J;9{'jJ.!JL[/E • Police 'Department 'Davit! J. tJ1iompson CfUt! of Police J.1s preparea 6y tfit. (jang Investigation Unit -. '. • 148396 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating it. Points of view or opinions stated in this document are those of the authors and do not necessarily represent the official position or policies of the National Institute of Justice. Permission to reproduce this copyrighted material has been g~Qted bY l' . Giend a e C1ty Po11ce Department • to the National Criminal Justice Reference Service (NCJRS). Further reproduction outside of the NCJRS system requires permission of the copyright owner. • TABLEOFCON1ENTS • DEFINITION OF A GANG 1 OVERVIEW 1 JUVENILE PROBLEMS/GANGS 3 Summary 3 Ages 6 Location of Gangs 7 Weapons Used 7 What Ethnic Groups 7 Asian Gangs 8 Chinese Gangs 8 Filipino Gangs 10 Korean Gangs 1 1 Indochinese Gangs 12 Black Gangs 12 Hispanic Gangs 13 Prison Gang Influence 14 What do Gangs do 1 8 Graffiti 19 • Tattoo',;; 19 Monikers 20 Weapons 21 Officer's Safety 21 Vehicles 21 Attitudes 21 Gang Slang 22 Hand Signals 22 PROFILE 22 Appearance 22 Headgear 22 Watchcap 22 Sweatband 23 Hat 23 Shirts 23 PencHetons 23 Undershirt 23 T-Shirt 23 • Pants 23 ------- ------------------------ Khaki pants 23 Blue Jeans 23 .• ' Shoes 23 COMMON FILIPINO GANG DRESS 24 COMMON ARMENIAN GANG DRESS 25 COrvtMON BLACK GANG DRESS 26 COMMON mSPANIC GANG DRESS 27 ASIAN GANGS 28 Expansion of the Asian Community 28 Characteristics of Asian Gangs 28 Methods of Operations 29 Recruitment 30 Gang vs Gang 3 1 OVERVIEW OF ASIAN COMMUNITIES 3 1 Narrative of Asian Communities 3 1 Potential for Violence 32 • VIETNAMESE COMMUNITY 33 Background 33 Population 33 Jobs 34 Politics 34 Crimes 34 Hangouts 35 Mobility 35 Gang Identification 35 VIETNAMESE YOUTH GANGS 39 Tattoo 40 Vietnamese Background 40 Crimes 40 M.O.
    [Show full text]
  • 7. Apèndix Filmogràfic
    UNIVERSITAT ROVIRA I VIRGILI CRIST EN EL CINEMA (La passió de Jesucrist en el cinema espanyol dins del context cinematogràfic mundial). Montserrat Claveras Pérez ISBN:978-84-693-4060-8/DL:T-1159-2010 7. Apèndix filmogràfic 7.1. Filmografia general La següent filmografia mostra, en ordre alfabètic i cronològic, les fitxes tècnico- artístiques i una sinopsi d’alguns dels films, més emblemàtics, que s’han citat al llarg del treball i que tracten sobre el tema religiós. Barrabás (Barabbas, 1961) Productora: Columbia (Itàlia); Director: Richard Fleisher; Guió: Diego Fabbri, Nigel Balchin; Fotografia: Aldo Tonti; Música:Mario Nascimbene, Muntatge: Alberto Gallitti, Intèrprets: Anthony Quinn (Barrabàs), Silvana Mangano (Raquel), Arthur Kennedy (Ponç Pilat), Katy Jurado (Sara), Roy Mangano (Jesucrist), Color – 144 min. Sinopsi argumental: És una pel·lícula de ficció sobre la vida de Barrabàs, cap de la guerrilla jueva, que salva la seva vida enfront de la de Jesús. Ben-Hur ( Ben-Hur, 1925) Productora: Metro Goldwyn Mayer (Estats Units); Director: Fred Niblo; Guió: Bess Mereddyth, Carey Wilson; Fotografia: Rene Guissart; Música: William Axt, David Mendoza, Muntatge: William Holmes, Intèrprets: Ramon Novarro (Juda Ben-Hur), Francis X. Bushman (Messala), May Mc Avoy (Ester), Betty Bronson (Verge Maria), B/N – 130 min. Sinopsi argumental: El jueu Ben-Hur té per amic al romà Messala qui el traeix quan s’assabenta que és jueu. Messala arresta tota la família de Ben-Hur i l’envia a ell a gal·leres com esclau. Quan salva la vida del capità del vaixell el recompensa convertint-lo amb un ric i important quadriguer que repta a Messala a una cursa.
    [Show full text]
  • The Museum of Modern Art Department of Film
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART THE ARTS FOR TELEVISION an exhibition organized by The Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam THE ARTS FOR TELEVISION is the first major museum exhibition to examine television as a form for contemporary art : television as a gallery or theater or alternative space, even television as art . An international selection of artworks made for broadcast, the exhibi- tion documents the crossovers and collaborations that take place on this new television, between and among dancers, musicians, play- wrights, actors, authors, poets, and visual and video artists . And it investigates the artists' own investigation of one medium -- be it dance or music or literature -- through another . It examines the transformations video makes and the possibilities it allows . These provocative uses of television time and technology are organized in THE ARTS FOR TELEVISION according to the medium transformed by the electronic image ; the six categories are Dance for Television, Music for Television, Theatre for Television, Literature for Television, The Video Image (works that address video as a visual art, that make reference to the traditional visual arts and to seeing itself), and Not Necessarily Television (works that address the usual content of TV, and transform it) . The ARTS FOR TELEVISION also presents another level of collaboration in artists' television . It documents the involvement of television stations in Europe and America with art and artists' video . It recognizes their commitment and acknowledges the risks they take in allowing artists the opportunity to realize works of art .
    [Show full text]
  • Collezione 16Mm
    Elenco pellicole collezione “16mm GEH” TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI 20.000 YEARS IN SING SING 20.000 YEARS IN SING SING Michael Curtiz USA 1932 16 3 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 2001: A SPACE ODISSEY 2001: A SPACE ODISSEY Stanley Kubrick UK/USA 1968 16 4 3 GODFATHERS 3 GODFATHERS John Ford USA 1948 16 3 3 MEN IN WHITE THREE IN WHITE Willis Goldbeck USA 1944 16 2 36 HOURS 36 HOURS George Seaton USA 1965 16 4 42ND STREET 42ND STREET Lloyd Bacon USA 1933 16 3 7 FACES OF DR. LAO 7 FACES OF DR. LAO George Pal USA 1964 16 3 7 WOMEN 7 WOMEN John Ford USA 1966 16 3 A CHRISTMAS CAROL A CHRISTMAS CAROL Edwin L. Marin USA 1938 16 2 A DATE WITH JUDY A DATE WITH JUDY Richard Thorpe USA 1948 16 3 A DAY AT THE RACES A DAY AT THE RACES Sam Wood USA 1937 16 3 A FAMILY AFFAIR A FAMILY AFFAIR George B. Seitz USA 1937 16 2 Elenco pellicole collezione “16mm GEH” Pagina 1 TITOLO ORIGINALE TITOLO COPIA REGIA NAZIONE ANNO FORM. RULLI A FREE SOUL A FREE SOUL Clarence Brown USA 1931 16 3 A GUY NAMED JOE A GUY NAMED JOE Victor Fleming USA 1943 16 3 A KISS IN THE DARK A KISS IN THE DARK Delmer Daves USA 1949 16 3 A LIFE FOR A LIFE A LIFE FOR A LIFE Stephen Whittaker UK 1998 16 2 A MIDSUMMER NIGHTʼS DREAM A MIDSUMMER NIGHTʼS DREAM William Dieterle, Max Reinhardt USA 1935 16 3 A MODERN HERO A MODERN HERO G.W.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]