75 Years Since the Release of Hollywood Classic Casablanca “And What If You Track Down These Men and Kill Them?
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Written to Be the Introduction to a Book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, Published by the University of Wisconsin Press
1981 Written to be the Introduction to a book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, published by the University of Wisconsin Press. These volumes reproduced classic Warner Bros scripts from the Warner Bros Archive at the Wisconsin Center for Film and Theater Research with scholarly apparatus. Between the commissioning of this volume and its completion the series was cancelled. The script itself and associated stills cannot be reproduced without copyright permission. Since the piece was written, Warner Bros post-production files have been acquired by the Cinema Studies Library of the University of Southern California. It is likely that they close some of the questions here raised about the final form of the film. INTRODUCTION The Politics of the War Film Ian Jarvie 1. The Evolution of the Screenplay 2. Summary of the Story as Filmed 3. Production and Exploitation 4. Reception and Appraisal 5. Political Aftermath Objective Burma has both intrinsic and extrinsic interest to students of the motion picture. Intrinsically, it is a fine example of sustained and unrelieved treatment of combat within the restrictions of the war film genre. There is much to be learned from studying how the final screenplay emerged from the work of three writers and their producer, and from the further changes made by the director, technical advisor, and film editor during production and post-production. Initial confusion of aims is resolved as the option of a clean and unencumbered line of action is chosen. This enables the writers to clear sub-plots out of the excessively long draft screenplay and encourages further honing down during shooting and editing. -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
The New School, Everybody Comes to Rick's
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model or to indicate particular areas that are of interest to the Endowment, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects his or her unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/research/public- scholar-program for instructions. Formatting requirements, including page limits, may have changed since this application was submitted. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Everybody Comes to Rick’s: How “Casablanca” Taught Us to Love Movies Institution: The New School Project Director: Noah Isenberg Grant Program: Public Scholar Program 400 Seventh Street, S.W., Washington, D.C. 20506 P 202.606.8200 F 202.606.8204 E [email protected] www.neh.gov Everybody Comes to Rick’s: How Casablanca Taught Us to Love Movies On Thanksgiving Day 1942, the lucky ticket holders who filled the vast, opulent 1,600-seat auditorium at Warner Brothers’ Hollywood Theatre in midtown Manhattan—where today the Times Square Church stands—were treated to the world premiere of Casablanca, the studio’s highly anticipated wartime drama. -
Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Sample Pages
About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop FXOWXUHVFKRODUVDQG¿OPFULWLFVDORQJZLWKLQWURGXFWRU\HVVD\VRQ WKH ¿OP LWV GLUHFWRU DQG D UHVRXUFH VHFWLRQ FRQWDLQLQJ D JHQHUDO ELEOLRJUDSK\ GLUHFWRU¶V FKURQRORJ\¿OPRJUDSK\ FDVW OLVW DZDUGV and honors, and the volume’s contributors … to whom I am grateful. Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is LQWHQGHGDVERWKDFRPSDQLRQIRUVHULRXV¿OPIDQVDQGDUHVRXUFH for students and scholars. No single volume on any movie can be FRPSOHWHEHFDXVHWKHEHVW¿OPV²WKHclassic¿OPV²DOZD\V\LHOG up things to say, year after year. Not surprisingly, much has been written already about CasablancaDVWKHELEOLRJUDSK\DWWHVWV7KH essays contained in this volume add to the critical “conversation” in, I hope, provocative ways. Some overlapping is unavoidable, but LQGLYLGXDOO\WKHVHHVVD\VDSSURDFKWKH¿OPIURPGLIIHUHQWDQJOHV collectively they help to explain why Casablanca is so highly UHJDUGHG²VWLOORUGHVSLWHLWVÀDZV²DQGZK\LWZLOOOLNHO\UHPDLQ so. Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to LGHQWLI\WKHUHDVRQVIRULWVVXFFHVV7KHLVVXHRIDXWHXULVPFRPHV up a number of times, with varying opinions over the amount of credit due director 0LFKDHO&XUWL]²WKRXJKQRQHRIWKHFRQWULEXWRUV GLVSXWHVWKH¿OP¶V²RU&XUWL]¶V²JUHDWQHVV ,Q KHU HVVD\ RQ ³7LSV RI WKH +DW 7KH &ULWLFDO 5HVSRQVH to Casablanca´ %UHQQDQ 0 7KRPDV QRWHV WKDW Casablanca SHUIRUPHGZHOODWWKHER[RI¿FHSDUWO\EHFDXVHRIIRUWXLWRXVWLPLQJ Early reviewers remarked that :DUQHU %URV ZDV HLWKHU OXFN\ RU SUHVFLHQWJLYHQWKDWWKH¿OP¶VSUHPLHUHFDPHOHVVWKDQWKUHHZHHNV after Casablanca, Morocco, was captured by Allied forces and the vii ¿OP¶VVXEVHTXHQWZRUOGZLGHUHOHDVHFRLQFLGHGZLWKWKH&KXUFKLOO Roosevelt meetings in Casablanca. But timing wasn’t everything. -
The Scarlet Hour
WINTER 2010 Noir City Sentinel 9 By Gary Deane Special to the Sentinel hen theorists and aficionados attempt to • Another female, good and dutiful, in love with and the director Mr. Curtiz has achieved a locate a definitive “end point” for the clas- the man; certain amount of suspense but little else.” Wsic period of film noir, four films emerge as • An urban setting where lives are lived out (UK Times, May 1957) the leading candidates: unhappily by day and by night; • A lurid and convoluted plot conveyed with hard- To present-day eyes, The Scarlet Hour isn’t drab at • Touch of Evil (1958), for its baroque inflations boiled urgency; all, merely dense in its complications and saturated of character and style; • Shadows, low angles, and “trick” shots adding with character types that seem contemporary and • Odds Against Tomorrow (1959), for its modern- unsettled atmosphere. anachronistic at the same time. It’s a familiar tale of ism and progressive tonal shifts; dark love, obsession, duplicity and murder. Tryon is • Psycho (1960), for its narrative and generic The Scarlet Hour was produced and directed by E.V. “Marsh” Marshall, the protégé of land developer dislocations; the renowned Michael Curtiz. Backed by Paramount, Ralph Nevins (Gregory), who happens to be having • Blast of Silence (1961), for its all-pervasive the film received a healthy A-feature budget. an affair with his boss’s wife, Paulie (Ohmart). moral desolation. However, the cast was populated with mostly “new faces,” including Tom Tryon, Carol Ohmart, James Disagreement is inevitable, given that the very Gregory, and Jody Lawrance. -
NPRC) VIP List, 2009
Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. -
Curriculum Vitae
Robert von Dassanowsky Dept. of Languages and Cultures Tel: +1.719.255.3562 Dept. of Visual and Performing Arts [email protected] University of Colorado [email protected] Colorado Springs, CO 80918 USA Dual Citizenship: Austria + USA UNIVERSITY FACULTY POSITIONS AND VISITING/ADJUNCT APPOINTMENTS: University of Colorado, Colorado Springs (UCCS) CU Distinguished Professor of Film and Austrian Studies, 2020. Professor of Visual and Performing Arts-Film and German/Austrian Studies, 2006-present. Founding Director, Film Studies Program, 1997-present. Founding Co-Director, European Studies, 2012. Chair, Dept. of Languages and Cultures, 2001-06; Acting chair, 2009; Co-Chair, 2020. Interim Chair, Dept. of Visual and Performing Arts, 2000-01; 2010. Head of German Program, 1993-present. Graduate/Undergraduate Humanities Program, 1993-present. Associate Professor of German and Visual and Performing Arts, 1999-2006. Assistant Professor of German, 1993-99. The Global Center for Advanced Studies (GCAS), New York and Dublin Affiliate Faculty 2017-present; Board Member of the GCAS Research Institute Dublin; Development Director for GCAS Vienna Center, 2019-present. Webster University, Vienna Adjunct Faculty of Media Communication and Film, 2013-15. University of California, Los Angeles Visiting Professor of German (cinema and contemp. literature), 2007-08. Visiting Assistant Professor of German, 1992-93. Teaching Fellow, Department of Germanic Languages, 1989-92. EDUCATION: Ph.D., Germanic Languages, University of California, Los Angeles, 1992. Dissertation Directors: Wolfgang Nehring, Hans Wagener, Kathleen Komar, 2 G. B. Tennyson. MA, German Studies (film spec.), University of California, Los Angeles, 1988. BA, Cum Laude/Highest Departmental Honors, Political Science and German, University of California, Los Angeles, 1985. -
A Tribute to Michael Curtiz 1973
Delta Kappa Alpha and the Division of Cinema of the University of Southern California present: tiz November-4 * Passage to Marseilles The Unsuspected Doctor X Mystery of the Wax Museum November 11 * Tenderloin 20,000 Years in Sing Sing Jimmy the Gent Angels with Dirty Faces November 18 * Virginia City Santa Fe Trail The Adventures of Robin Hood The Sea Hawk December 1 Casablanca t December 2 This is the Army Mission to Moscow Black Fury Yankee Doodle Dandy December 9 Mildred Pierce Life with Father Charge of the Light Brigade Dodge City December 16 Captain Blood The Private Lives of Elizabeth and Essex Night and Day I'll See You in My Dreams All performances will be held in room 108 of the Cinema Department. Matinees will start promptly at 1:00 p.m., evening shows at 7:30 p.m. A series of personal appearances by special guests is scheduled for 4:00 p.m. each Sunday. Because of limited seating capacity, admission will be on a first-come, first-served basis, with priority given to DKA members and USC cinema students. There is no admission charge. * If there are no conflicts in scheduling, these programs will be repeated in January. Dates will be announced. tThe gala performance of Casablanca will be held in room 133 of Founders Hall at 8:00 p.m., with special guests in attendance. Tickets for this event are free, but due to limited seating capacity, must be secured from the Cinema Department office (746-2235). A Mmt h"dific Uredrr by Arthur Knight This extended examination of the films of Michael Only in very recent years, with the abrupt demise of Curtiz is not only long overdue, but also altogether Hollywood's studio system, has it become possible to appropriate for a film school such as USC Cinema. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.