The Bickersons Scripts Volume 2 Pdf, Epub, Ebook
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Schedule of the Films of Billy Wilder
je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele brated study of proletarian life gave Wilder hie first taste of film making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan. -
One Night with Fanny Brice
The American Century Theater presents Audience Guide Edited by Jack MarshallNovember 5–27 Rosslyn Spectrum Theater you can afford to seesee———— ppplaysplays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. This arts event is made possible in part by the Virginia Commission on the Arts and the National Endowment for the Arts, as well as by many generous donors. -
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. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
Celebrating Women's History Month
Celebrating Women’s History Month Teaching Guide/Student Worksheets This instructional guide supports the use of the profiles for Celebrating Women’s History Month. It offers vocabulary words from the text and several short answer questions based on the content of each profile. In some cases, references to related websites are included with additional materials about the person or their pursuits. Lastly, the guide includes two or three activities per profile called “Newspaper Tie- ins.” These activities suggest how to bring the lessons of these historical figures into the present, to make their lives relevant and apply the lessons to today’s news. These graphic organizers were created for students in grades 4-8 and can be narrowed or expanded to accommodate the needs of each instructor’s class. Feel free to modify these activities or create your own. Written by Mary Hadigan Miller, Educational Services Director for the New York News Publishers Association – Newspaper In Education Program All rights reserved 2016 Any questions contact Mary at [email protected] or call 518-449-1667 Florida Standards The Florida Department of Education defines that the Florida Standards provide a robust set of goals for every grade. Emphasizing analytical thinking rather than rote memorization, the Florida Standards will prepare our students for success in college, career and life. The Florida Standards will reflect the knowledge and skills that our young people need for success in college and careers. Building on the foundation of success that has made Florida a national model, The Florida Standards provide a clear set of goals for every student, parent, and teacher. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
The 2020 Induction Ceremony Program Is Available Here
FLORIDA WOMEN’S HALL OF FAME VIRTUAL INDUCTION CEREMONY honoring 2020 inductees Alice Scott Abbott Alma Lee Loy E. Thelma Waters Virtual INDUCTION 2020 CEREMONY ORDER OF THE PROGRAM WELCOME & INTRODUCTION Commissioner Rita M. Barreto . 2020 Chair, Florida Commission on the Status of Women CONGRATULATORY REMARKS Jeanette Núñez . Florida Lieutenant Governor Ashley Moody . Florida Attorney General Jimmy Patronis . Florida Chief Financial Officer Nikki Fried . Florida Commissioner of Agriculture Charles T. Canady . Florida Supreme Court Chief Justice ABOUT WOMEN’S HALL OF FAME & KIOSK Commissioner Maruchi Azorin . Chair, Women’s Hall of Fame Committee 2020 FLORIDA WOMEN’S HALL OF FAME INDUCTIONS Commissioner Maruchi Azorin . Chair, Women’s Hall of Fame Committee HONORING: Alice Scott Abbott . Accepted by Kim Medley Alma Lee Loy . Accepted by Robyn Guy E. Thelma Waters . Accepted by E. Thelma Waters CLOSING REMARKS Commissioner Rita M. Barreto . 2020 Chair, Florida Commission on the Status of Women 2020 Commissioners Maruchi Azorin, M.B.A., Tampa Rita M. Barreto, Palm Beach Gardens Melanie Parrish Bonanno, Dover Madelyn E. Butler, M.D., Tampa Jennifer Houghton Canady, Lakeland Anne Corcoran, Tampa Lori Day, St. Johns Denise Dell-Powell, Orlando Sophia Eccleston, Wellington Candace D. Falsetto, Coral Gables Rep. Heather Fitzenhagen, Ft. Myers Senator Gayle Harrell, Stuart Karin Hoffman, Lighthouse Point Carol Schubert Kuntz, Winter Park Wenda Lewis, Gainesville Roxey Nelson, St. Petersburg Rosie Paulsen, Tampa Cara C. Perry, Palm City Rep. Jenna Persons, Ft. Myers Rachel Saunders Plakon, Lake Mary Marilyn Stout, Cape Coral Lady Dhyana Ziegler, DCJ, Ph.D., Tallahassee Commission Staff Kelly S. Sciba, APR, Executive Director Rebecca Lynn, Public Information and Events Coordinator Kimberly S. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Tyrone Power
Tyrone Power 66638_Kelly.indd638_Kelly.indd i 227/11/207/11/20 11:15:15 PPMM International Film Stars Series Editor: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin Tyrone Power: Gender, Genre and Image in Classical Hollywood Cinema by Gillian Kelly www.euppublishing.com/series/ifs 66638_Kelly.indd638_Kelly.indd iiii 227/11/207/11/20 11:15:15 PPMM Tyrone Power Gender, Genre and Image in Classical Hollywood Cinema Gillian Kelly 66638_Kelly.indd638_Kelly.indd iiiiii 227/11/207/11/20 11:15:15 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
Convention Time: August 11–14
The quarterly journal of The Wodehouse Society Volume 26 Number 2 Summer 2005 Convention Time: August 11–14 nly two months to go, but it’s not too late to send farewell brunch Oin your registration for The Wodehouse Society’s Fun times that include reading stories with 13th International Convention, Hooray for Hollywood! other Wodehousians, visiting booksellers’ The site of this year’s gathering is Sunset Village on the and Chapters Corner tables, plenty of grounds of the UCLA campus, a beautiful location singing, and most of all cavorting with with easy access to Westwood, the Getty Museum, and fellow Plummies from all over so much more. And if you’re worried about the climate, don’t be: Informed sources tell us that we can expect What—you want to know more? Well, then, how warm, dry weather in Los Angeles in August, making about our speakers, who include: for an environment that will be pleasurable in every way. Brian Taves: “Wodehouse Still can’t make up your mind? Perhaps on Screen: Hollywood and these enticements will sway you: Elsewhere” Hilary & Robert Bruce: “Red A bus tour of Hollywood that Hot Stuff—But Where’s the includes a visit to Paramount Red Hot Staff?” (by Murray Studios Hedgcock) A Clean, Bright Entertainment Chris Dueker: “Remembrance of that includes songs, skits, and Fish Past” The Great Wodehouse Movie Melissa Aaron: “The Art of the Pitch Challenge Banjolele” Chances to win Exciting Prizes Tony Ring: “Published Works on that include a raffle, a Fiendish Wodehouse” Quiz based on Wodehouse’s Dennis Chitty: “The Master’s Hollywood, and a costume Beastly Similes” competition A weekend program that includes Right—you’re in? Good! Then let’s review erudite talks, more skits and what you need to know. -
The Bickersons
thebickersons.qxd:4 pg. Booklet 7/21/10 11:45 PM Page 1 However, the original John (Don) and Blanche (Frances) found continuing fame THE BICKERSONS on the radio once again in the 1960s and ‘70s doing a wealth of commercials, feuding for the likes of Easy-Off oven cleaner, Coffee Put Out the Lights! Rich coffee cream and Top-Value trading stamps. They even recorded several hit Program Guide by Ben Ohmart albums for Columbia records in the ‘60s, which collectively sold over a million copies When Philip Rapp’s and were frequently requested by listeners of humorous marital skit debuted radio stations that played comedy. on Drene Time in 1946, it was truly an original piece of John and Blanche Bickerson may business. Up until then, not be an “official” comedy team, in the couples on the radio did not Abbott & Costello and Marx Bros. sense, but Don Ameche and Frances Langford shout at each other. Oh yes, even today, they are hilarious, proving that there was argument, even good argument is eternal. insult—but outright yelling, pleading…snoring? No. John Episodes Included in This Collection: and Blanche Bickerson were a progression of realism and CD 1 Don Ameche, Frances Langford and Frank Morgan modernism unto themselves. A: Drene Time - Everybody Has a Baby - 01/05/1947 B: Drene Time - Amos the Driving Instructor - 02/23/1947 Its stars, Don Ameche and Frances Langford, had never played this type of comedy before. Ameche had been cast in many film roles as the hot-headed editor or the take- CD 2 charge film director, so he knew how to yell with the best of them.