W\@M£T@W\

Total Page:16

File Type:pdf, Size:1020Kb

W\@M£T@W\ 4 AMUSEMENTS. THE SUNDAY STAR. WASHINGTON, If. <?.. SEPTEMBER 19. 1926-PART 3. AMUSEMENTS. « ing until 11 p.m.. with four presenta- atm* devoted a pert of his time to Local Film Notes. tions of the entire bill dally. vaudeville entertainment in whleh he excels as a caricaturist whose Directing Orchestra Although Henry Burr, Billy Murray art Is Photoplays Under the new policy of presenting reflected tipofi a magnified screen This Week! The Movings Picture Album and Monroe Silver are perhaps the stag© attractions Loew'a and screen at through a devleo of fits own invention. member* of the group of best known Palace Theater. Lawrence Beatus be- The drawing is accompanied by s gat- C eight Victor artists appearing here comes managing director of Loew at- ling gun Are of comedy and whistling. week. Sam Herman, the xylo- Washington (Continued from comedy, Robert K. Sherwood this tractions in and O. J. Third Page.) Pathe “Butter Fingers”; Sat- By phonist, unuaual per- formerly urday. is said to be an Ratto, assistant manager of Anna Q. Nilssen In "The Splen former on that curious instrument I’alace, becomes house manager. Reynolds in “Sunny Side lT p," a*ig- did Road," Pathe News and comedy, the Monta Bells Story. fostered by Will H. Thu manner In which “Uncle Tom’s and has developed some remarkable R. R. Deissel remains as treasurer, men ted li.v the natural color produc- “Whistling Lions.” plan, * • • • present- Murphy charge "T'HK POPULAR SIN.” Pan,. suggested Hays, to .organize a national Cabin” will be received when, tonal effects. with B. in of a tion. "The Vision.” by the a presents famous a library of moving pictures ed few months hence also theater service. mount picture, whose story was painting, and new Aesop HOME. Bell, Fable. should meet with approval. an interesting subject for specula- A substantial success lihs been ! written bv Monta adapted by Today, Blanche Sweet and Owen THESchools and colleges are be- tion. achieved by the Metropolitan Ram- Next week, in conformity with his .lames Ashmore Creelman, directed *** * introducing nil Amateur Moore in "Diplomacy,” Aesop Fable coming increasingly interested In the blers. the auxiliary orchestra at Cran- principle of worthy by Malcolm St. Clair and stars AMBASSADOR—“The Pathe Review; worthy playing compositions submitted him by Vidor, has gone pro- Gentleman." and tomorrow. Marie movies as an art form of “Don iltiaii” ami Hie Yitaplmiie. dall's Metropolitan Theater .to Florence Into Preeost in “Up in Mabel’s Room" and attention, insti- from ,0.50 p.m.. and from Washington writers of music, Daniel duction at the Paramount Long Richard by academic and these At the Theater, York, a.m. to 1:30 Barthelmess, supported Neeley Edwards in "It's All Over should he provided with a Warners’ New 5 7:30 p.m., under the conductor- Btteeskin. conductor of the symphony Island studio. Dorothy seen at tution! .lohn Barrymore In Juan,*' with to Dunbar, will be Cran- Now"; Tuesday. "The Isle of Retribu- source which to obtain films "Don Davis. This 12-piece orchestra at Crandall's Metropolitan "The Popular Sin”, is described as dall's Ambassador Theater the first from the vitaphone as an added attraction, ship of Milton tion" and Charlie Chase in "Dog Shy"; for purposes of study. group of syncopalers has taken j Theater, will introduce a new number "a triple eternal triangle story of three days of this week, beginning 1 Wednesday, Estelle Taylor and Bryant preferably, a has proved to be a success, the the- the musical taste i entitled. '"lf You But Knew,” by marriage and divorce, laid in Pails this National's A national library—or, ater being jammed with cash powerful hold upon afternoon In First Washburn in "Wandering Footsteps," series of national libraries —would custo- of the cUncing and younger modern- Isabel Lohr, which will form part and Biarritz." It has as its central production of "The Amateur Gentle- news and Jimmie Adams in "Chase untversitiee, mers, afternoon and evening, seven of the musical accompaniment to characters a Parisian gentlewoman, answer that need. A few days ists of the city. man,” adapted from the story by Jef- Yourself"; Thursday, John Bovvers in Columbia, already Insti- a week. Mo»t of the Longaere CoHeen Moore's new vehicle, "It Must a philandering physician, a pedantl. Aesop notably have wise fery Karnol; new Fable, by "Raddle” and Art I.ake in "Opera. tuted courses, in the technique (if acres attribute this to the vita- Me Love.” playwright and a "vampy" Metros- Terry, pipe organ phone Announcement ia made hy the man- Rani and music House Tonight”; Friday, Patsy Ruth a thing) scenario rather than to Mr. Barrymore’s Each man marries each woman at augmenting there is such ,of high-pressure agement of Loews Palace Theater the hill. Miller and Johnny Harron in “Hell writing photography. love making—an opin- least once. and movie which, that new policy of stage and At a local theater this week there Wednesday Thursday. Patsy ion it seem, -- • and Bent for Heaven” and Ralph Graves made half-hearted ges- would is shared by the an Ruth Milter and Johnny Harron in Other* have the Warner brothers photoplay presentations has in no is entertainer of unique capabili- in Hal Roach's “Kunnymooners"; Sat- tures in that direction. Indeed, one themselves. In continuous ties, Bert Levy, one of the foremost William Collie*', jr.. Paramount ”11 >ll Bent for Heaven," supplemented urday, Carey most of their advertising the wise Interfered with the Harry in "Frontier film producer, not averse to a little word house, the j and caricaturists in the player. Is said to be the author of three by Mack Nennett's "Ice Cold Cocoas” "vitaphone’’ stands out sharply—John performance policy of the | cartoonists Trails" and Juvenile comedy, "Bear publicity, offered to endow- a chair of hill opening 11:30 a m. and continu- j United States, who has for many sea- succesful stage plays. and a new News reel: Friday, John Cats." any university Barrymore’s name being of secondary at Bowers in "Laddie." Lige Conlev in cinematography In importance. Crazy" "Topics of tha that would consent to accept it as a Furthermore, "Goins and LEADER. gift. Nothing has been heard of this the New York news- Day", Saturday. Johnny Walker and paper critics subjected 1 "Don Juan*’ to in "Honesty offer since it was made. Pauline Stark Is the Best Today and tomorrow, William V vaults of the Widener Li- an emphatic panning and praised the Policy," Our Gang Tom's Boyd Volga Boatman,” RIIBINOFF. IOI.IN SOLOIST AND In the vitaphone in "I'ncle i In “The brary, at reposes a print enthusiastically. At Orau- Uncle,” Snapshots comedy. Big Kick," GUEST CONDUCTOR AT THE Harvard, of Screen and Pathe Pathe “The and Big nian's Egyptian Theater in Holly- Review, serial; “The Parade," saved for the the entire bill emltelllshed i “Mysterious Pilot” Tuesday PALACE. freshmen, who will wood, however, "Don Juan" is on HELD BIG WEEK! w;th pipe organ music. and Wednesday. Buck Jones in “The benefit of future view, OVER—2d want to knew whether the Great War unaccompanied by any mechani- § Cowboy and the Countess" and Fox really great as dodder- cal contrivances whatsoever. Ft is do- J so their the Cabby's Seat”; was big LINCOLN—"TIie Sheik." comedy, “From ing old fathers have led them t« ing business. Perhaps Mr. Barry- Thursday and Friday. W. C. Fields * • he seen at FILMOGRAMS more’s powers of attraction have been TheSicreen’. Greatest Uver in Rudolph Valentino will Army Itelieve. In “It’s the Old Game” and ** * * underestimated in New York. | the Lincoln the first three days of Universal comedy, “Andy's Lion * | ** * this week in the title role of "The Saturday Sunday, Betty Esther Ralston, fresh from working When Mr. Hays' beautiful dream Sh<'ik,” novel Tale": and the flint version of the in “She.” "Mystery Pilot” as the heroine of “Old Ironsides,” has becomes a harsh reality, it will he Bulletins. by E. M. Hull, in which he is sup- Blithe interesting see what films will bp serial and Fox comedy, "A Business been selected for the leading feminine to Calif.—Ernst is'iteil by Agnes Ayres. The supple- Riders,” selected for Inclusion in the national HOLLYWOOD. Lu- Engagement." role in "The Rough Para- bitsch will direct picture for mentary attraction will include news mount's picture story of Theodore library. Will this hall of fame be tine reel and Aesop Fable. dedicated exclusively to those produc- Metro-Goldwyn, “Old Heidelberg," an OLYMPIC. Roosevelt and his famous SpaniHh- Wednesday and Thursday. Florence Amerlcan War regiment. tions that have cleaned up in the with Ramon Novarro as the student Vidor will in Never Today and tomorrow, Clara Row, box-office, space be reserved prince. Douglas Fairbanks is he seen "You or will soon, Know Women,” supplemented by Ernest Torrence and Percy Marmont Here is the imposing array of Fox for a few- memorable financial to start work on a new picture "Who Hit Me." in which Al St. John in “Mantrap," also Pathe Weekly and productions neing put into shape: failures? and the hungry extras are contem- is the star, and a Grantland Rice comedy, "Tol’able Romeo"; Tuesday, “The City," Clyde Fitch's play; “Go- T hope that the admissions commit, plating a return to the three-meals-a- Sportlight. en Friday and Saturday, “Grass." also Pathe comedy, "Some- ing Crooked,” George Melford direc- tee, will see fit to include “The Cabi- day schedi/Te. The proposed trip Anna Q. Nilsson, In the title role of where, in Somewhere"; Wednesday, tor; “One Increasing Purpose,” Harry net of Dr.
Recommended publications
  • Jackie Coogan of Charlie Chaplin's
    Jackie of Charlie "The Kid" Personal Notes of Screen Players . SCREEN SHADOWS Coogan Chaplin's r and Their Activities in Studios By FRANK VREELAND. Now in Motion Picture of "Peck's Bad Boy" Sam Rork of the district was bv a to i William X. SeliR and B. edge Rained WHILE the discussion over films made In Germany Is beginning will revive that pioneer of the movlea, personal study of its people and cus¬ boil like a pot of tar, some interesting facts have come to light the two reel drama. / They announce toms. tli«y already have completed two pic- . regarding the Teutonic film industry which would surprise the Jackie. Coogan his east /n'Peck's Bad Boy " tures with William Desmond Wallace Larry Semon gave supporting Hveraj?e layman and make him realize that this country Is not the only Strand Beery and Elinor Fair in the first, an. the hardest workout ot ^their film ca¬ and reers in the finish of hl"^ Jateat comedy. movie on earth, the admitted superiority of the brand of Lefcis 8. Stone, Ethel Grey Terrj paradise despite Wallace Beery in the second. Hie rirsi The Bakery." This picture now is be¬ kunligiu dispensed in Los Angeles. of these is -The Policeman and the ing completed at Vttagraph's Western The number of motion picture producing companies in Germany Is Babv," by Charles 1. Cullen, and th» rtudios. Milled about in a myriad of James Oliver ' akes, plunged three stories into vatp we thluk we have so second is adapted from reported to be twice a* great as here, though may Curwood's famous short storj, uf dcugli and thence into kegs of black many in this country that a man can't fall off n trolley car without arousing Wilderness Malt." paint, the troupe had a mad time of ft stated ? .
    [Show full text]
  • The Horror Film Series
    Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors.
    [Show full text]
  • Spf-Vwcaul A
    DEC. 3, 1932_ THE INDIANAPOLIS TIMES PAGE 5 HAYDN BICENTENNIAL CONCERT TO BE GIVEN TUESDAY Clara Bow, After a Long Absence, Returns to the Talking Indianapolis Saengerbund Will Give Its First Program of # Screen at the Apollo in Tiffany Thayer’s Greatly R| <*■ ->i _. the Current Season Sunday Afternoon at Knights Discussed ‘Call Her Savage.’ nt Wx 4- j of Columbus Auditorium. ‘/'NALL HER SAVAGE," Clara Bow’s long-awaited starring picture second concert of the Indianapolis Symphony orchestra will be v-4 *or Fox 1* current 44 the attraction at the Apollo theater, where at hall it wijl for THEheld Tuesday night, Dec. 6. Caleb Mills at 8:30 o'clock. remain a limited engagement. Ors occasion, will The photoplay this the orchestra celebrate the bicentennial of new is said to bring a new, more poised, dignified Franz Joseph Haydn, and will be assisted and emotional star for the delight of her by the Haydn festival chorus, countless fans. under direction of Elmer A. Steffen. As Nasa, dynamic heroine of Tiffany Thayer’s Bow drama. Miss Last summer, Mrs. Frank Cregor. president of the Matinee Musicale, touches every human emotion in what is reputed to be the Strongest screen story of her career. conceived the idea of the Haydn festival, and quickly won enthusiasts §* to her cause. With a background of elaborate settings and an all-featured cast IBjPB| Miss Bow discards the flapperisms made J 8 tft Members of the Matinee Musicale Chorale comprise a large part of that portrays hL her famous, and a tensely-dramatlc role and depicts the chorus composed also of members from church choirs and high the rich emotionalism of mother school choruses.
    [Show full text]
  • Hollywood Walk of Fame Master Plan Community Meeting Presentation
    Hollywood Walk of Fame Master Plan Community Meeting Presentation November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN Welcome & Introductions Community Presentation Page 2 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE The Master Plan is being developed with consensus, guidance and advocacy from many parties Client Team Design Team Community & City Partners Neighborhood Councils Community Organizations City Deparments Central Hollywood Neighborhood Council Hollywood Partnership Los Angeles Bureau of Street Lighting Hollywood Hills West Neighborhood Council Hollywood Chamber of Commerce Los Angeles Bureau of Street Services Hollywood Studio District Neighborhood Council Hollywood Heritage Los Angeles Department of Transportation Hollywood United Neighborhood Council Hollywood Historic Trust Los Angeles County Metro Los Angeles Office of Historic Resources Los Angeles Police Department (LAPD) Los Angeles Fire Department (LAFD) Page 3 of 59 HOLLYWOOD AGENDA WALK OF FAME MASTER PLAN 1. Project Update 2. Vision 3. Traffic & Mobility 4. Street Design 5. Street Trees 6. Street Amenities Community Presentation Page 4 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD WALK OF FAME MASTER PLAN 1. Project Status Update Community Presentation Page 5 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT PURPOSE WALK OF FAME MASTER PLAN To improve the Walk of Fame experience for those who live in, work in and visit the area. THE STREET IS FOR EVERYONE! Community Presentation Page 6 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD COMMUNITY OUTREACH OVERVIEW WALK OF FAME MASTER PLAN Community Presentation Page 7 of 59 November 19, 2020 *50% SCHEMATIC DESIGN DRAFT - SUBJECT TO CHANGE HOLLYWOOD PROJECT SCHEDULE WALK OF FAME MASTER PLAN WHERE WE ARE TODAY ARE WE WHERE DEC.
    [Show full text]
  • Hollywood on the Hudson Surveys New York's Role In
    HOLLYWOOD ON THE HUDSON SURVEYS NEW YORK’S ROLE IN THE ESTABLISHMENT OF MODERN AMERICAN FILMMAKING BETWEEN THE TWO WORLD WARS Hollywood on the Hudson: Filmmaking in New York, 1920–39 September 17 - October 19, 2008 The Roy and Niuta Titus Theaters New York, September 11, 2008—Hollywood on the Hudson: Filmmaking in New York, 1920- 1939, a month-long exhibition that showcases New York City’s seminal yet rarely recognized role in the establishment of the modern American film industry between the two world wars, is presented at The Museum of Modern Art, from September 17 through October 19, 2008. More than 25 feature films and many shorts, including early sound films—musicals, comedies, animated films, and documentaries—offer a survey of filmmaking in New York during the hegemony of Hollywood, from D. W. Griffith’s return from the West Coast in 1919 to the World’s Fair of 1939. Screenings include pioneering sound films shot at the Paramount Studios in Astoria, Queens, and performances by Broadway luminaries such as Louise Brooks, Marion Davies, the Marx Brothers, Gloria Swanson, and Rudolph Valentino. Hollywood on the Hudson is co-organized by Laurence Kardish, Senior Curator, Department of Film, The Museum of Modern Art; and Richard Koszarski, on whose book, Hollywood on the Hudson: Film and Television in New York from Griffith to Sarnoff (Rutgers University Press, 2008), the exhibition is based. The exhibition recalls a point during which an industry built on centralized authority began to listen, for the first time, to a range of independent voices in cinema, each with their own ideas about what the movies could say and do.
    [Show full text]
  • 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.
    [Show full text]
  • The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters
    The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America.
    [Show full text]
  • Hollywood and France, 1914-1945 Louise G
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Vive la Différence: Hollywood and France, 1914-1945 Louise G. Hilton Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hilton, Louise G., "Vive la Différence: Hollywood and France, 1914-1945" (2011). LSU Master's Theses. 1206. https://digitalcommons.lsu.edu/gradschool_theses/1206 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. VIVE LA DIFFÉRENCE: HOLLYWOOD AND FRANCE, 1914-1945 A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Louise G. Hilton B. A., Louisiana State University, 2004 May 2011 ACKNOWLEDGEMENTS I wish, first of all, to thank my thesis advisor, Dr. Charles Shindo, for his counsel and infinite patience during the time I spent working on this project. Dr. Karl Roider also deserves heartfelt thanks for his unflagging support throughout my studies at LSU and for his agreeing to be a member of my thesis committee. I extend my appreciation to Dr. William Clark for giving of his valuable time to be a part of my committee.
    [Show full text]
  • TORRANCE HERALD, Toffaace, Cabf
    THURSDAY, DBClittfBBIt 29, TORRANCE HERALD, Toffaace, CaBf. Two Big Films AT WARNER'S THEY'RE ALL IN THE DOUGH "CALL HER SAVAGE" Tartars to See Irish-Trojan JO At Fox Redondo Offer Big Week >rigi Friday and Saturday, December Game Picture 30 nd 81, the Fox Redondo "Thca- Entertainment first "Centra! I'ark," with Joa The pausing of the alabaster the dell and Wallace Ford, la repo them. ft IB unique In bstltution of real human belnss catches a cross section lio are neither saint nor devil, variegated life that pulse ally but a mixture of both, goes on The entire first string footbaJJ through New York city's groat .pace In "Hell's Highway." the R. en of Torrarifee High ti»T« B**t» playground. It hns caught the C. O. picture playing Thursday, .vited with Coach Ponahue .,!» spirit and the vivid coloring- of its Friday and Saturday at Warner ianaser 8am Klein to b* lh| cosmopolitan life and has em­ «. San Pedro Theatre, in which puests of the Torrance The atMl blazoned It on the screen In a Richard Dix plays the role of a ext Sunday matinee to view tt)4 Klin" glowing- romance. ^11 of its thrill- sometimes brutal, sometimes sen- lay-by-play pictures at the Notti Ad> Ing drama, its exciting scenes, its tie convict. Dame vs. V.' S. C. football Kama' comedy and Its romance, take In one »cen? he swings a pick The theatre management will pre- place in 24 hod . with terrific force, slnkins its it the local Tartars with a foot- of an inch from Also playing Friday and Satur­ point a fraction 1 as a token of their good work day is "Me and My Gal" with a fellow coVivict'a feet, just to ring the past season.
    [Show full text]
  • 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.
    [Show full text]
  • Estelle Taylor Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    Estelle Taylor 电影 串行 (大全) Desire https://zh.listvote.com/lists/film/movies/desire-3024431/actors Playthings of Desire https://zh.listvote.com/lists/film/movies/playthings-of-desire-7203552/actors A California Romance https://zh.listvote.com/lists/film/movies/a-california-romance-62901969/actors Call Her Savage https://zh.listvote.com/lists/film/movies/call-her-savage-827179/actors The Whip Woman https://zh.listvote.com/lists/film/movies/the-whip-woman-18393957/actors Frisco Kid https://zh.listvote.com/lists/film/movies/frisco-kid-927963/actors A Fool There Was https://zh.listvote.com/lists/film/movies/a-fool-there-was-3602473/actors Bavu https://zh.listvote.com/lists/film/movies/bavu-19946029/actors Tiger Love https://zh.listvote.com/lists/film/movies/tiger-love-19363929/actors The Revenge of Tarzan https://zh.listvote.com/lists/film/movies/the-revenge-of-tarzan-2812280/actors Liliom https://zh.listvote.com/lists/film/movies/liliom-3240856/actors Blind Wives https://zh.listvote.com/lists/film/movies/blind-wives-4926622/actors Monte Cristo https://zh.listvote.com/lists/film/movies/monte-cristo-3861494/actors Where East Is East https://zh.listvote.com/lists/film/movies/where-east-is-east-3258661/actors While New York Sleeps https://zh.listvote.com/lists/film/movies/while-new-york-sleeps-7993616/actors Lady Raffles https://zh.listvote.com/lists/film/movies/lady-raffles-27981637/actors æˆå​ ä​ ººç”Ÿ https://zh.listvote.com/lists/film/movies/%E6%88%8F%E5%AD%90%E4%BA%BA%E7%94%9F-1366541/actors https://zh.listvote.com/lists/film/movies/960499/actors
    [Show full text]
  • 1 Mexican Film Censorship and the Creation of Regime Legitimacy
    Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reyna Marie Esquivel-King, M.A. Graduate Program in History The Ohio State University 2019 Dissertation Committee: Dr. Stephanie Smith, Advisor Dr. Laura Podalsky Dr. Stanley Blake 1 Copyrighted by Reyna Marie Esquivel-King 2019 2 Abstract My dissertation, entitled, “Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945,” argues that Mexican government officials used cinema censorship to disseminate a positive image of Mexico and Mexicans as modern and prosperous, and attempted to create an appearance of stability and control. Utilizing archival sources, newspapers, journals, and film propaganda, I examine how regimes use film censorship as a tool to legitimize their power through images. Specifically, I focus on representations of women, the indigenous, and Mexicans in U.S. cinema. The officials realized the significant persuasive and influential power that visual media had over its vast and far-reaching audiences, especially the increasingly popular form of film. They saw censorship as an efficient and effective tool they could use to create and/or change the course of any given tide of public sentiment or opinion. They implemented film censorship and the use of positive imagery to serve two purposes. One reason being to convince international audiences of Mexico’s status as a modern, powerful, and independent nation. The second was to persuade domestic audiences of the Mexican government’s legitimacy to rule and restore a sense of national pride in order to breed a common desire for national unity.
    [Show full text]