DOCSLIB.ORG

WRAP THESIS Willis 2002.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/55891 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THE SIGNIFIER RETURNS TO HAUNT THE REFERENT Blackface and the Stereotyping of African-Americans in Hollywood Early Sound Film by Corin Charles Willis BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film Studies University of Warwick Department of Film and Television Studies December 2002 BEST COpy AVAILABLE TEXT IN ORIGINAL IS CLOSE TO THE EDGE OF THE PAGE CONTENTS List of Dlustrations llI-IV AcknowledgementslDeclaration v Abstract VI Prologue 1 Introduction 12 1:The Stereotypical Portrayal of African-Americans in Hollywood film. 13 2:The 'Nature' of the Blackface Medium 16 Chapter One: The Persistence of Blackface in Early Sound Film 29 1:Past Accounts of Blackface in Early Sound Film 29 2:Four Categories of Blackface in Early Sound Film. 35 3:Conclusions on the 'Map' of Blackface Persistence 81 Chapter Two: Shadows of Blackface: The Racial Marking of 93 African-American Actors and Performers in Early Sound Film 1:Film Practices Involved in the Racial Marking of 97 African-Americans in Film 2:Aspects of Film Form Involved in the Racial Marking 106 of African-Americans in Film 3 :Minstrelsy Rebuilt 119 Chapter Three: Co-presence in the Films of AI Jo)son and Eddie Cantor 127 1:Co-presence in The Singing Fool 133 2:The Afterlife of lolson's Blackface Mammy 148 3:Blackface By Proxy, Whiteface and Afiican-American 171 Association in Hallelujah I'm a Bum 4:Co-presence and African-American Vernacular in lolson/Cantor Films. 185 11 Chapter Four: Minstrelisation Shots, Blackface and the Racial 219 Containment of African-American Music and Dance Vernacular 1: A Day at the Races and The Lindy Hop 222 2:Black and White Looks in Operator 13 245 3 :The Wider Co-presence of Blackface with Mrican-American 257 Vernacular in Early Sound Film Chapter Five: Unraveling the Minstrel Mask, African-American 261 Self Expression in Stormy Weather 1 :Stormy Weather's Historical Context 263 2 :The Origins ofMinstrelsy~ the Minstrel Mask and 284 African-American Signifyin(g) 3 :The Reclamation of Expressive Mrican-American 311 Vernacular in Stormy Weather Conclusion 335 1:Blackface as an Irredeemably Racial Medium 336 2:The Textuality of Hollywood's Mrican-American Stereotypes 338 3 :The Minstrel Gaze 340 Epilogue 353 Bibliography 366 Filmography 373 Teleography 387 Appendix: Chronological List of the Persistence of Blackface 388 in Early Sound Film 111 LIST OF ILLUSTRATIONS All Illustrations are Frame Captures From American Films 1927-1953. Front Cover - The Singing Fool (1928) 0:1-0:8 The Birth ofa Nation (1915) 9/10 0:9 The Jazz Singer (1927) 10 0:10-0:12 The Birth ofa Nation (1915) 10 1:1-1:4 The Jazz Singer (1927) 86 1:5 Saratoga Trunk (1945) 86 1:6 Check and Double Check (1930) 86 1:7 Swing Time (1936) 87 1:8 Torch Song (1953) 87 1:9 Stand up and Cheer (1934) 87 1: 10-1:11 Rhapsody in Blue (1945) 87 1:12 King ofJazz (1930) 87 1:13-1:15 Dimples (1936) 88 1: 16-1 :17 Show Boat (1930) 88 1: 18-1: 19 /fYou Knew Susie (1948) 88 1:20 Babes in Arms (1939) 89 1:21 Babes on Broadway (1941) 89 1:22 Kid Millions (19340 89 1:23 Coney Island (1943) 89 1:24 Here Come the Waves (1944) 89 1:25 In Old Kentucky (1934) 90 1:26 The Spoilers (1942) 90 1:27 The Littlest Rebel (1935) 90 1:28 Dream House (1932) 90 1:29 Whoopee! (1930) 90 1:30 Roman Scandals (1933) 90 1 :31 Hard to Get (1938) 91 1:32 Everybody Sing (1938) 91 1:33 Up in the Air (1940) 91 1:34 Boston Blackie 's Rendezvous (1945) 91 1:35 A Day at the Races (1937) 91 1:36 Round up Time in Texas (1937) 92 1:37 You Can't Cheat an Honest Man (1939) 92 2:1-2:2 The Big Broadcast of 1936 (1935) 124 2:3 The King ofJazz (1930) 124 2:4 ShowBoat (1936) 124 IV 2:5 The Big Broadcast oJ 1936 (1935) 124 2:6 The Great Ziegfeld (1936) 124 2:7 Ali BaBa Goes to Town (1937) 125 2:8-11 Show Boat (1936) 125 2:12 Round up Time in Texas (1937) 125 2:13 Show Boat (1936) 126 2:14 The Littlest Rebel (1935) 126 2:15-2:16 The Birth oja Nation (1915) 126 2:17-2:18 Dimples (1936) 126 3:1-3:8 The Singing Fool (1928) 211112 3:9-3:10 Mammy (1930) 212 3:11-3:13 The Singing Kid (1936) 213 3:14 The King ojJazz (1930) 213 3:15 Stand up and Cheer (1934) 213 3:16-3:17 Musical Doctor (1932) 214 3:18 The Kidfrom Spain (1932) 214 3:19 Thank Your Luck Stars (1943) 214 3:20-3:28 Hallelujah I'm a Bum! (1933) 214-216 3:29-3:34 The Singing Kid (1936) 216-217 3:35-3:36 Roman Scandals (1933) 217 3:37 Ali Baba Goes to Town (1937) 217 3:38-3:43 Kid Millions (1934) 218 4:1 Uncle Tom's Cabin (1927) 259 4:2 Rhapsody in Black and Blue (1932) 259 4:3 Jitterbug Party (1934) 259 4:4 -4:7 A Day at the Races (1937) 259-60 5:1-5:4 This is the Army (1943) 331 5:5-5:18 Stormy Weather (1943) 331-334 6:1 A Day at the Races (1933) 364 6:2-6:10 Pardon Us (1931) 364-365 v ACKNOWLEDGEMENTS Many thanks to my Supervisor, Richard Dyer, for his long standing support. Thanks also to Trevor Long and Phil Markey, Nickianne Moody, and other work colleagues at Liverpool John Moores University, and also Peter Stanfield and Robyn Stilwel. Thanks also to family, Dad, Mom, Qucie, Nan, Jan and John, and especially, for waiting, Claire and Charlie. DECLARATION I declare that the work which follows is my own. This thesis has not been submitted for a degree at any other University VI ABSTRACT This thesis investigates the persistence of blackface in Hollywood's early sound era 1927-1953. It establishes the extensive and complex nature of this persistence against previous historical accounts of its decline after the introduction of sound. Specifically this thesis considers the overlooked phenomenon of co-presence where blackface was juxtaposed with the increased visibility of African-Americans in Hollywood film. It argues that the primary historical significance of the persistence of blackface lies in its involvement in, and exposure of, the formal stereotyping of African Americans in film. The thesis is founded on research which identified 124 blackface films and on viewings of75 of these films. Primarily the argument is advanced on the basis of close textual analysis. In addition to its theoretical engagement with key positions on blackface and related areas the thesis also makes use of secondary sources in order to establish the historical context behind its persistence in film. Principle areas discussed include the formal practices used to racially mark African­ Americans in film, co-presence in the films of AI Iolson and Eddie Cantor, and blackface and the racial containment of African-American vernacular dance and musIc. This thesis contributes to an understanding of the place of blackface in Hollywood history by setting down what is, to the best of its author's knowledge, the most extensive account to date of its persistence in the early sound era. In doing so it brings new material to the debates on the 'nature' of blackface and argues that current attempts to revise understandings of its racial bias may be misguided. In conclusion this thesis finds that the case study of co-presence indicates that one explanation for the longevity of Hollywood's African-American stereotypes lies in the sheer density of their textual construction. 1 PROLOGUE Many of the key points of interest discussed in this thesis are exemplified in the textual detail of The Birth ofa Nation, the founding historical moment of Hollywood racial representation. Donald Bogle notes that it was the first film to "articulate fully the entire pantheon" (1997,18) of the stereotypes that would dominate Hollywood's portrayal of African-Americans through the rest of the silent era and through the first few decades of sound film. Clyde Taylor argues that the film was responsible for shaping a Hollywood film aesthetic that has since operated "simultaneously and harmoniously with a kindred ideology, that of western racial superiority" (1996,35). One of the most frequently noted aspects of the racial representation involved in The Birth ofa Nation is Griffith's use of blackface as a 'replacement' for African­ American actors. Taylor writes that Griffith "reject[ed] black actors in favour of white actors in burnt cork" (1996,26) and that all of the "foregrounded" (ibid) black characters in the film are whites in blackface. The notion that Griffith made a conscious decision to avoid using African-American actors is widely supported in other accounts (Leab, 1973,34) (Nesteby, 1982,49). The fact that there are actually African-Americans in the film is occasionally suggested by comments such as Griffith "mostly" (Modleski, 1991,119) (Null, 1977, 14) used whites in blackface.
Recommended publications
  • Boxoffice Records: Season 1937-1938 (1938)

    Boxoffice Records: Season 1937-1938 (1938)

    ' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J.
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts

    Ralph W. Judd Collection on Cross-Dressing in the Performing Arts

    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
  • 1937-11-26 [P C-4]

    1937-11-26 [P C-4]

    ' ——RKOWflfmu/Q — “The at Palace It in “Met” Where and When ■ ■■ ® 8**0 Firefly” Say Song Depicts N Q | ^ Is Current Theater Attractions Stately Operetta Big Prison and Time of Showing. • Ton will mo HEPBtThr, Pace of National—“To Be Continued,“ a new Lavish Spectacle Is Slow, “Politics” comedy with Luella Gear: 8:30 p.m. an* ROGER8 togothor, But Its Music Is Sweet and Palace—“The Firefly,” Jeanette Mac- la tho Broadway atago Litel Performance Donald in the Friml operetta: 11 a.m., •aoeoas that haa bo* Settings Imposing. 1:35, 4:15, 6:55 and B:35 p.m. eomo tho highlight of _• Is “Alcatraz” Keith's—“Stage Door,” Hepburn, all tho ocTOOB’a bow big By JAY CARMODY. Rogers, a story of Broadway called bet- picture*, I don’t expect a story as tightly written as if Clifford Odets were its Feature. ter than that of the play: 11:15 a.m., author when you go to see Rudolph Friml’s “The Firefly," which 1:21, 3:27, 5:37, 7:39 and 9:45 p.m. opened yesterday at Loew’s Palace. Nor do you get it. What you do U'T'HE ROCK” is the subject of Capitol—"Double Honeymoon,” ro- YOUget is a big colorful musical of the turn-of-the-century type in which the current screen attrac- mance in two doses: 11:05 a.m., 1:45, Alan Jones and Jeanette MacDonald | sing charmingly and fall charmingly in § tlon at the Metropolitan. 4:30, 7:15 and 9:55 p.m.
  • Marvin A. Chirelstein

    Marvin A. Chirelstein

    Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2016 In Memoriam – Marvin A. Chirelstein Barbara Aronstein Black Columbia University Law School, [email protected] Stephen B. Cohen Michael J. Graetz Columbia Law School, [email protected] Roberta Romano Carol Sanger Columbia Law School, [email protected] See next page for additional authors Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Law Commons Recommended Citation Barbara A. Black, Stephen B. Cohen, Michael J. Graetz, Roberta Romano, Carol Sanger & Robert E. Scott, In Memoriam – Marvin A. Chirelstein, 116 COLUM. L. REV 287 (2016). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/2 This In Memoriam is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. Authors Barbara Aronstein Black, Stephen B. Cohen, Michael J. Graetz, Roberta Romano, Carol Sanger, and Robert E. Scott This in memoriam is available at Scholarship Archive: https://scholarship.law.columbia.edu/faculty_scholarship/2 COLUMBIA LAW REVIEW VOL. 116 MARCH 2016 NO. 2 IN MEMORIAM THE INCOMPARABLE MARVIN: AN APPRECIATION BarbaraAronstein Black* Marvin Chirelstein was my good friend long before he was my colleague, and Ellen is one of my closest friends-it's a friendship that's lasted through oh! so many ups and downs for all of us for oh! so many years. As a sign of how good a friend I considered Marvin, I will report that he is the only person I have ever permitted to call me Babs! Now Marvin and I did of course become colleagues-at Yale for a while, and at Columbia for almost 30 years.
  • Best Picture of the Yeari Best. Rice of the Ear

    Best Picture of the Yeari Best. Rice of the Ear

    SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex­ perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz­ ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.
  • TORRANCE HERALD, » Art Drama I

    TORRANCE HERALD, » Art Drama I

    THURSDAY. SEPTEMBER 10, TORRANCE HERALD, Torranoe, California PAGft 6-fc Cimema USIC Old West Goes In "Swing Time" Drama » Art ........ ..''••• . • J - • rf !...<.. J I •!- . ' II II • I . •' —— Bad Fire Starter WAVERLY, Ran. (U.P.) Mrs Bverett' drained a bucket o Quintuplet Film RHYTHM RIEJES THE BANGE "kerosene" from a barrel to start a fire. She had forgotten Team Plays Nursemaid to Prize Unparalleled As the kerosene had been replacec with gasoline. She escaped with In Cross Country Jaunt painful burns. ' Fine Amusement They haven't; gpt the Coyptes alhglhg 'Ml-Dl-Ho, but In almost every other In the picture that is the en WALT LINCH way the Old West has gone swing In tertalnment scoop of the year, 5»lng CrpBby's latest, ''Jlh.ythm on the Range," scheduled Darryl F. Zanuck makes movie tp open Sunday at the :ftlaza Theatre, Hawthorne, with star? of the first ran.k pf the Crpsby, Frances Farmer ai^d Bob Burns In central roles. world's front-page darlings, as "Rhythm On the Ra«ge" he presents the Dionnc Quin makes a cowman out of B4) tu,plets in their first full length and opens Its story. .When feature, "The .Country Doctor," Jean Harlow Is >yhich comes Sunday to the Tor- crooner buys a prize bull af a ranee Theatre for a three-day rodeo in New York's Madison Star In Famous run. Square Garden, then starts W^st Adapted from an original with the animal In a bo^ car. story by diaries ®- BHHe- &*1' In the reels that follow, a rol­ German Novel cago newspaper man, "The Country Poptoj" finds its drama licking romance Is punctuated Jean Harrow's newest starring by the bazooka-playing of in the ijife-and^deatft conflict that vehicle, "Silzy," in which the a' physician eternally wqges in Tp Ityake a Long Burns; swing music 'by Louis popular actress Is supported by the Canadian wilds in h|s unsel­ Prima's world-famed band, West­ fish work.
  • Ronald Davis Oral History Collection on the Performing Arts

    Ronald Davis Oral History Collection on the Performing Arts

    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
  • CATALOGX 87.Pdf

    CATALOGX 87.Pdf

    E R T A N M E N T BIG NEWS, fRANIINSTBN, TIIE RDT•m VEIIIII (1831) BLACDAWK MOVESI \ Big news and good news for our many customers nationwide! Blackhawk Films, for years based in Davenport, Iowa is heading west to Hollywood. Effective September 18, 1987, Blackhawk Films moved its operations closer to the heart of the industry. The new facilities mean faster response and even more personal attention given to filling your orders. The most outstanding new feature that goes with the move is the extension of phone service to 24 hours a day, every day of the year. At Blackhawk Films, we keep trying to find new ways to retain our customers and give you the kind of service you deserve ... the best. You can see that effort most clearly in this catalog's selection of collectable entertainment. Just looking through our exclusive LANDMARKS IN ENTERTAINMENT Section gives you a taste of the kinds of special videocassettes we have to offer. Not just entertaining features, Blackhawk strives to select high-quality, important work that is valuable entertainment. Titles like the original FRANKENSTEIN, TOP HAT, DIRECTOR: James Whales PRODUCER: Carl Laemmle Jr. MAKE-UP: Jack Pierce CAST: Boris Ka.rfoff. Colin MR. SMITH GOES TO WASHINGTON, Clive, Mae Clarke, Edward Van Sloan, John Boles, Marilyn Harris and Dwight Frye SONS OF THE DESERT and the rest read like a roll call of the greatest films from For the first time in 50 years, this classic adaptation of Mary Shelly's novel can be seen the way its Hollywood's heyday.
  • CED Videodisc

    CED Videodisc

    SUMMER 1984 SUPPLEMENT II -' WORLD'S GREATEST SELECTION OF THINGS TO SHOW DON'T LOSE YOUR CATALOG SUBSCRIPTION Because of increased printing costs we will no longer be able to mail catalogs to anyone who has not ordered from us in the last 15 months. SO, order from this catalog today and you will stay on our list. MIDSUMMER'S NIGHT CLOSING OUT! A JAZZY SUMMER SALE! SPECIAL! T. Marvin Hatley (videocassette) (videocassette) Music For laurel & Hardy BLACK AND TAN (1930) FLIGHTS AND FLYERS : (and Friends) 8 8 AMELIA EARHART' /ST. LOUIS BLUES (1929) A Blockhawk/Movietone compilation of Miss You can now own original studio recordings of BLACK AND TAN (1930) Earhart's exploits from about 1932 to that garbled background music created for the films of Laurel & message received at Howland Island. S~e her pilot an DUKE ELLINGTON autogiro, a tickertape parade in New York following her Hardy by the inimitable T. Marvin Hatley! This fine trans-Atlantic trip, receiving the National Geographic album contains memorable scores from WAY OUT D~ke Ellington's first screen appearance Award from President Hoover. Also arriving at Newark WEST, THEM THAR HILLS, SAPS AT SEA, SONS wos th is extraordinary and deeply moving after completing a cross country flig.ht in 17 hours and OF THE DESERT, A CHUMP AT OXFORD, film pr<,duced in the second year of sound some moments, and that ofter spending about 2½ hours BLOCKHEADS and BONNIE SCOTLAND. These on the ground for canopy repairs. Then on to Honolulu are not re-creations! They ore the original 1930s by Dudley Murphy.
  • A Merry Christmas! a Prosperous New Year to All

    A Merry Christmas! a Prosperous New Year to All

    [TING-UP TIME -*..—-Bunntti 5.19 p.m. TODAY'S WEATHER FORECAST _ .-*i*s-up time: 5.49 p.m. Rule of road! c KEEP LEFT—PA8S OH THE SIGHT Fine INCORPORATING THE ROYAL GAZETTE (Established 1826) and THE BERMUDA COLbNIST (Established 1866) VOL. 18—No. 306 HAMILTON. BERMUDA, SATURDAY, DECEMBER 23, 1933 »D PER COPY—40/- PER ANNUM A MERRY CHRISTMAS! A PROSPEROUS NEW YEAR TO ALL BERMUDA JOINS IN EMPIRE BERMUDA FILM ON SHOW HIS MAJESTY'S XMAS, WOMAN SENT FOR TRIAL THEY_SAY • CHRISTMAS BROADCAST AT INVERURIE EMPIRE BROADCAST ON ARSON CHARGE LONDON, Dec. 22 (OP)—Thou­ That Christmas shopping has been Dr. Kostich's Picture to be Seen Lengthy Preliminaries Ended brisk. sands of the King's subjects, bound * * * Tonight like His Majesty, for the Christ­ Spirits Tax in. U. S. May be Sharply Reduced— mas holidays, gave a cordial send After several protracted hearings, That for the next few days everyone The moving picture of Bermuda off to tho King and Queen when the preliminary hearing in the should forget everything except New Silver Scheme Proclaimed by Roosevelt they loft King's Cross Station yes­ arson case against Adulcie de Graffe the Christmas spirit. which won second prize at tbe * 9 9 -Reichstag Arson Trial Verdict Expected Internaticnal Exhibition at Holly­ terday afternoon to spend Christ­ of Pond Hill, Pembroke, was ended wood will be shown at the Inver­ mas at Sandringham. Tho de­ at Hamilton Police Court yesterday That forgetting trouble is the best Today—O'Duffy to be Released— urie Hotel tonight at nine o'clock.
  • 'DJ.M~ ~ WORLD's GREATEST SELECTION of THINGS to SHOW

    'DJ.M~ ~ WORLD's GREATEST SELECTION of THINGS to SHOW

    WINTER 1984 SUPPLEMENT I -'DJ.m~ ~ WORLD'S GREATEST SELECTION OF THINGS TO SHOW SCROOGE 2 (1935) SEYMORE HICKS, DONALD CALTHROP, ROBERT COCHRAN, MARY GLYNNE It's the one and only "Bah­ Humbug" story as told by Charles Dickens. From the irascible old Scrooge, through Bob Crotchet's misery, old Marlye's ghost and the new and loveable Scrooge, we and Tiny Tim again enjoy that most wonderful spirit of Christmas. 77 min . BW We are pleased to present the classic version of this Dickens Christ­ mas classic to all our customers. Merry Christmas to you all! 506-30-0599 - Beta 525-30-0599 - VHS. .. .. .. .................... $29.98 BLACKHAWK CHRISTMAS PRICE ....... ... $23.88 (Sale ends December 31, 1983) A CHRISTMAS CAROL, here called SCROOGE, was the first of Charles Dickens "Christmas Books" written' in 1845 and we are pleased to announce on page 3 his third "Book" called THE CRICKET ON THE HEARTH. (order blank p. 33) 1983 Blackhawk f ilms, Inc ., One Old Eagle Brewery, Davenport, Iowa 52802 Special Delivery Services United States: Guarantee 16mm Film - Special Order Most 16mm format film is special order. Please UPS BLUE LABEL $2 .00 per item POSTAL EXPRESS OVERNITE $8.00 (1 only) If after receivin!;l an item you are not allow 12 weeks for printing and delivery. satisfied, return 11 to us within 10 days. {Limit 1 tape or 1 Disc only) We'll allow full credit on some other Running Time Conversion Table UPS NEXT DAY AIR $10.00 per item FEDERAL EXPRESS $28.00 per item purchase or give you a full refund.
  • Sandspur, Vol. 44 No. 17, February 15, 1939

    Sandspur, Vol. 44 No. 17, February 15, 1939

    University of Central Florida STARS The Rollins Sandspur Newspapers and Weeklies of Central Florida 2-15-1939 Sandspur, Vol. 44 No. 17, February 15, 1939 Rollins College Find similar works at: https://stars.library.ucf.edu/cfm-sandspur University of Central Florida Libraries http://library.ucf.edu This Newspaper is brought to you for free and open access by the Newspapers and Weeklies of Central Florida at STARS. It has been accepted for inclusion in The Rollins Sandspur by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Rollins College, "Sandspur, Vol. 44 No. 17, February 15, 1939" (1939). The Rollins Sandspur. 544. https://stars.library.ucf.edu/cfm-sandspur/544 Support ttolunsj^Santi0pur Rollins Sandspur ^VOLUME 44 (Z-107) (Weekly Student Newspaper) WINTER PARK, FLORIDA, WEDNESDAY, FEBRUARY 15, 19,39 (Complete Campus Coverage) NUMBER 17 Student Bodies, Armiei f Lightnin'" Plays to Full Move on Full Stomachs New York Times Publisher, ELMIRA, N. Y.—(ACP)— Convinced that a student body, I House at Daytona; Closes like an army, makes best prog­ Fred Stone and President ot ress on a satisfied stomach EU mira college established an ex­ I Tonight at St. Petersburg tra-curricular refreshment sche­ Yale Coming Founders' Week dule during its mid-year ex­ amination period. *Troupe Will Move On To Sar- Dr. MacFarland To Each afternoon, at the con- D'Estournelle Talks Sulzberger, Noted Newspaper ''.' asota and Clearwater Be- Bach Festival To elusion of tests, 4 o'clock, tea British Diplomat Man, to Speak at Animated Lecture In Theatre and wafers are served in the On Life of Villon , fore Returning To Rollins Recreation Room, a convenient Magazine on February 26 Speaks On "The Effect Of Be Held In Chapel center for weary students who To Talk In Fourth Addresses Adult Education Fred Stone Directs, Philosophy on Religion" crave relaxation, nourishment Group At Woman's Club Seymour, Yale Head, ; Heads Student Cast Two Days In March and companionship.